| （1.哈尔滨师范大学 体育科学学院，黑龙江 哈尔滨 150080；2.华南师范大学 体育科学学院，广东 广州 510006） 摘 要：运用体育传播学的理论与方法，梳理武侠电影的源流。分析香港武侠电影的历史脉络，可划分为邵氏影视开创的“彩色武侠世纪”、李小龙的功夫片、南派真功夫与武侠喜剧片、徐克创造的“新武侠时代”。研究认为香港特区以武侠为主题的影片类型，是在社会结构转变中，随大众的心理倾向需要出现，而武侠电影展现的中国武术是经过艺术加工的产物。飞檐走壁、踏雪无痕、剑光四射的场景只是武术传奇，而在电影加工的过程中成为展示中国武术的形式，舞蹈化的武舞也成为中国武术的重要内容。武侠电影作为一把“双刃剑”，对武术传播有积极和消极的影响。 |
LI Mu1，TAN Guang-xin2
| （1.School of Physical Education，Harbin Normal University，Harbin 150080，China；2.School of Physical Education，South China Normal University，Guangzhou 510006，China) Abstract: By using theories and methods in sports communication, the authors traced the origin and developments of martial arts films, analyzed the historical context of Hong Kong martial arts films, which can be categorized into “The Color Martial Arts Century” opened up by Shaw Brothers Films, Bruce Lee Kung Fu films, Southern Real Kung Fu and martial arts comedies, and “The New Martial Arts Age” created by Tsui Hark, and put forward the fol-lowing opinions: in the Hong Kong region, films that based their theme on martial arts appeared as psychologically needed by the public during social structure transformation, while Chinese Wushu shown in martial arts films was an artistically processed product; wall vaulting, traceless snow walking and sword dazzling scenes were just Wushu legends, while Wushu dance that became a form to present Chinese Wushu and turned it into a dance in the process of film processing had become an important content of Chinese Wushu as well. Martial arts films as a double-edge sward have positive and negative influence on Wushu communication. |
下载本期全文：点击下载