| 民族、国家与跨地性：反思中国电影研究中的理论架构 |
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| 引用本文： | 张英进.民族、国家与跨地性：反思中国电影研究中的理论架构[J].南京师范大学文学院学报,2012(3):1-9. |
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| 作者姓名： | 张英进 |
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| 作者单位： | 上海交通大学人文学院,上海,200240 |
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| 摘 要： | 中国电影研究领域既有的理论框架有二,一是＂去中国性＂的唯理论范式,把中国电影纳入以西方为中心的全球视野加以理论化考量;一是＂国族电影＂范式,其理论的有效使用旨在为民族文化和国家政体提供正当性。基于电影史的发展实际和全球空间政治的既有格局,本文提出＂跨地性＂的理论框架,主张沿着人文地理学的路径从空间和跨地域的维度,而不是从民族和国家的维度,重构中国电影研究的理论框架,旨在为中国电影研究提供新的视域。
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| 关 键 词： | 中国电影研究 理论架构 跨地性 民族国家 |
The Status of Theory in Chinese Film Studies: From Ethnicity and National Cinema to Translocal Practice |
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| Yingjin Zhang.The Status of Theory in Chinese Film Studies: From Ethnicity and National Cinema to Translocal Practice[J].Journal of Chinese Language and Culture School Nanjing Normal University,2012(3):1-9. |
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| Authors: | Yingjin Zhang |
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| Institution: | Yingjin Zhang |
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| Abstract: | Two major theoretical frameworks exist in Chinese film studies: first,the paradigm of questioning "Chineseness," which theorizes Chinese cinema in terms of globalization predominantly centered in the West;second,the paradigm of "national cinema," which works effectively to legitimate nation culture and state ideology.This article draws on concrete examples from Chinese film history in relation to the global politics of space and proposes a framework of translocality,which aims to provide a new direction for Chinese film studies by following the route of human geography and re-conceptualizing film theory from the perspective of space and polylocality rather than the nation-state. |
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| Keywords: | film theory translocality ethnicity national cinema |
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