Cinematic female body in wartime Chinese cinema (1937-1945)

战时中国电影中的电影女性身体（1937-1945）

• 批准号: 2769564
• 金额: --
• 依托单位: King's College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2769564
• 关键词: Cinematic; female; body; wartime; Chinese

During the Sino-Japanese War (1937-1945), female bodies on and off the screen broke the political and geographical boundaries of Chinese films and was vital in the process of domestic cinema's expression, communication and acceptance. They are the sexually attractive object, commodities bound with fashion and modernity and the camouflage that covers the films through the censorship. This study will analyse wartime Chinese films applying a new theory "cinematic female body" developed from body studies in sociology and art, which gives an innovative analytical method and answer to the common question "what is the national cinema" in the film studies.During the Sino-Japanese War (1937-1945), Chinese domestic films showed four different styles and contents geographically because of the division of political pattern. Feature films in the occupied area, the rear area and the concession area have their diverse characteristics in narrative, theme and art, but similarly, the female bodies are an important and visible medium in the process of film's conveying meaning, attracting and affecting the audience. They become a visual code, discourse, metaphor and even a knowledge system that can be understood and perceived effectively during the war. Based on outlining of the wartime Chinese films as well as their criticism, I propose a new theory, "cinematic female body", which benefits from the body studies in the field of sociology and develops from Chris Shilling's discussion of musical body as an innovative theoretical frame to analyse wartime Chinese cinema. This concept originated from my thinking about how and why the female bodies in the films can effectively become a common aesthetic, emotional and emotional code. In the analysis of specific cases, the characteristics of female roles in the film, the angle captured by the camera, the personal aspirations of filmmakers, the image of actresses shaped by the mass media, and the special political and cultural atmosphere formed by the war all provide arguments for the interpretation of it. The theory of cinematic female body could be artistic, economic, political, social, cultural or historical. Simultaneously, it is relatively concrete physically because it will be applied to re-examine Lili Li's thighs, Yunshang Chen's abdomen and chest, Xiaoyi Rong's calf. Pierre Bourdieu's study of masculine domination and Judith Butler's feminist body research inspired me to think about how women are socially shaped, and my theory further highlight the tangibility and superiority of the film in the body studies on this basis because this will break the dualism of the naturalism and social constructivism in the sociology. Most of the films produced by Shanghai, Chongqing and Hong Kong in my research can be viewed online, and the rest can be found in Shanghai archives, Shanghai Film Museum, China Film Archive and Cinémathèque Française (France). Films produced by Avio Manchurian used association are scattered in Changchun Film Studio, National film and audio-visual cultural centre (Taiwan) and National Film Archive of Japan. I will also collect words and images related to the damaged or lost films, such as their advertisements, news, film reviews and criticisms. Dian Sheng (MOVIETONE), Dianying Zhoukan (Screen Weekly), Qingqing Dianying (The Chin-Chin Screen) are the most complete and influential film publications with the longest release time during the war, and their articles were predominantly written by film critics. All these texts are available online, such as CNBKSY and the database of late Qing and Republican Era Chinese newspaper provided by Stanford University.

抗战时期(1937-1945)，银幕上和银幕下的女性身体打破了中国电影的政治和地理界限，在国内电影的表达、传播和接受过程中发挥了至关重要的作用。它们是性吸引力的对象，是与时尚和现代性捆绑在一起的商品，也是通过审查覆盖电影的伪装。本研究运用社会学和艺术学身体研究中发展起来的一种新的理论--电影女性身体理论对战时中国电影进行分析，为电影学界普遍存在的“什么是国家电影”的问题提供了一种创新的分析方法和答案。抗战时期(1937-1945)，由于政治格局的分化，中国国产电影在地域上呈现出四种不同的风格和内容。沦陷区、大后方和租界地区的故事片在叙事、题材和艺术上各有不同的特点，但同样，女性身体也是电影传达意义、吸引和影响观众的重要而有形的媒介。它们成为战争期间可以有效理解和感知的视觉代码、话语、隐喻，甚至是知识体系。本文在概述战时中国电影及其批评的基础上，借鉴社会学领域的身体研究成果，借鉴克里斯·席林的音乐身体理论，提出了一种新的理论--电影女性身体，作为分析战时中国电影的创新理论框架。这个概念源于我对电影中女性身体如何以及为什么能够有效地成为一种常见的审美、情感和情感代码的思考。在具体案例的分析中，影片中女性角色的特点、镜头捕捉的角度、电影人的个人诉求、大众传媒塑造的女演员形象、战争形成的特殊政治文化氛围，都为解读提供了论据。电影女性身体的理论可以是艺术的、经济的、政治的、社会的、文化的或历史的。同时，它在身体上是比较具体的，因为它将被应用于重新检查李丽丽的大腿，陈云上的腹部和胸部，小腿荣小腿。皮埃尔·布尔迪厄对男性统治的研究和朱迪思·巴特勒的女性主义身体研究启发了我思考女性是如何被社会塑造的，我的理论在此基础上进一步突显了这部电影在身体研究中的有形和优越性，因为这将打破社会学中自然主义和社会建构主义的二元论。在我的研究中，上海、重庆和香港制作的大部分电影都可以在网上观看，其余的可以在上海档案馆、上海电影博物馆、中国电影档案馆和法国的Cinémathéque Française找到。由Avio满洲二手协会制作的电影分散在长春电影制片厂、国家电影视听文化中心(台湾)和日本国家电影档案馆。我还将收集与损坏或丢失的电影有关的文字和图像，如广告、新闻、影评和批评。《殿声》(电影)、《殿影周刊》(《银幕周刊》)、《青青殿影》(《锦绣银幕》)是抗战时期发行时间最长、最完整、最有影响力的电影刊物，它们的文章主要由影评人撰写。所有这些文本都可以在网上找到，比如CNBKSY和斯坦福大学提供的晚清和民国时期中文报纸数据库。