Film criticism as a political weapon: theory, ideology and film activism in Nuestro Cinema (1932–1935)
Film criticism as a political weapon: theory, ideology and film activism in Nuestro Cinema (1932–1935)
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电影批评作为政治武器：新电影中的理论、意识形态和电影行动主义（1932â1935）
DOI：
10.1080/01439685.2016.1167466
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发表时间：
1935
期刊：
影响因子：
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通讯作者：
Fernando Ramos Arenas
中科院分区：
文献类型：
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作者：
Fernando Ramos Arenas
这篇文章集中于西班牙共产主义电影杂志《我们的电影》（1932-1935）。它分析了它的文本制作以及它在更广泛的电影行动主义网络中的作用，包括左翼电影发行，电影俱乐部的成立和业余电影的推广。本文着眼于它的立场，作为一个产品的意识形态激进化的特点，从20世纪20年代后期起的欧洲电影先锋派的演变。关于西班牙的背景，在许多方面，这一国际发展的后一章，Nuestro Cinema不仅是一个很好的例子，声音电影的引入和苏联生产转向社会主义现实主义原则在1929/1930年左右对先锋派圈子的影响，而且也反映了新政治制度下的政治开放（第二共和国，1931-1936年）。由共产主义电影评论家胡安·皮克拉斯（Juan Piqueras）从巴黎执导的《我们的电影》（Nuestro Cinema），其极其同质化的文本制作将电影理解为无产阶级群众政治文化化的意识形态武器。与此同时，它的许多内容中明显的理论历史方法以及它的国际焦点阻碍了它的正确接受和其电影文化目标的实现。
This article focuses on the Spanish communist film journal Nuestro Cinema (1932–1935). It analyses its textual production as well as its role within a broader network of film activism that included left-wing film distribution, the founding of film clubs and the promotion of amateur cinema. The essay looks at its position as a product of the ideological radicalization that characterized the evolution of the European film avant-garde from the late 1920s onwards. Concerning the Spanish context, in many ways a later chapter of this international development, Nuestro Cinema is not only a good example of the impact the introduction of sound film and Soviet production’s shift towards socialist realist principles around 1929/1930 had on avant-garde circles, but also a reflection of the political openness under a new political regime (Second Republic, 1931–1936). Directed from Paris by the communist film critic Juan Piqueras, Nuestro Cinema’s astonishingly homogeneous textual production understood cinema as an ideological weapon in the political culturization of proletarian masses. At the same time, the theoretical-historical approach evident in many of its contents as well as its international focus impeded its proper reception and the implementation of its film cultural goals.