陈林侠:《中国电影学派:从电影哲学开始——以劳拉·穆尔维的〈视觉快感和叙事性电影〉等为案例》,《电影新作》2(2018):23—29。
[Chen, Linxia. “The ‘Chinese Film School’: Starting with Cinematic Philosophy — A Case Study ofLaura Mulvey's ‘Visual Pleasure and Narrative Cinema’ and Other Works.” New Films 2(2018):2329.]
陈犀和翟莉滢:《国家理论:电影理论中的中国学派与中国话语》,《电影艺术》2(2018):9—13。
[Chen, Xihe, and Zhai Liying. “On the Theory of State Film: Chinese School and Chinese Discourse in Film Theories.” Film Art 2(2018):913.]
陈旭光:《电影工业美学研究》。北京:中国电影出版社,2021年。
[Chen, Xuguang. A Study of the Aesthetics of the Film Industry. Beijing: China Film Press, 2021.]
陈旭光鲁晓鹏王一川李道新等:《跨国华语电影研究:术语、现状、问题与未来——北京大学“批评家周末”文艺沙龙对话实录》,《当代电影》2(2015):68—78。
[Chen, Xuguang, Sheldon Hsiao-peng Lu, Wang Yichuan, and Li Daoxin, et al. “Transnational Chinese Film Studies: Terminology, Status, Problems and Future.” Contemporary Cinema 2(2015):6878.]
《辞海》。上海:中华书局,1947年。
[Cihai. Shanghai: Zhonghua Book Company, 1947.]
《辞海》。上海:上海辞书出版社,1979年。
[Cihai. Shanghai: Shanghai Lexicographical Publishing House, 1979.]
《辞海》。上海:上海辞书出版社,1999年。
[Cihai. Shanghai: Shanghai Lexicographical Publishing House, 1999.]
冯果王珂:《对建构中国电影学派的思考》,《上海大学学报(社会科学版)》37.6(2020):34—48。
[Feng, Guo, and Wang Ke. “Reflections on Building Chinese School of Film Studies.” Journal of Shanghai University (Social Sciences Edition) 37.6(2020):3448.]
龚浩敏:《民族性、“去政治化”的政治与国家主义:对“华语电影”与“中国电影主体性”之争的一个回应》,《电影新作》5(2015):4—12。
[Gong, Haomin. “National Character, Politics of Depoliticization and Nationalism: A Response to the Debate on Chinese-Language Films and the Subjectivity of Chinese Film.” New Films 5(2015):412.]
贾磊磊:《中国电影学派:一种基于国家电影品牌建构的战略设想》,《当代电影》5(2018):18—22。
[Jia, Leilei. “Chinese Film School: A Strategic Assumption Based on National Film Brand Construction.” Contemporary Cinema 5(2018):1822.]
贾磊磊肖远:《中国电影学派建构的终极期许》,《艺术评论》3(2021):19—23。
[Jia, Leilei, and Xiao Yuan. “The Ultimate Expectationof the Construction of Chinese Film School.” Arts Criticism 3(2021):1923.]
李道新:《重建主体性与重写电影史——以鲁晓鹏的跨国电影研究与华语电影论述为中心的反思和批评》,《当代电影》8(2014):53—58。
[Li, Daoxin. “On Rewriting the Chinese Film History.” Contemporary Cinema 8(2014):5358.]
——:《“华语电影”讨论背后——中国电影史研究思考、方法及现状》,《当代电影》2(2015):79—83。
[---. “Chinese Film History Research Thinking, Methods and Status.” Contemporary Cinema 2(2015):7983.]
——:《郑正秋与中国电影学派的发生》,《电影艺术》2(2018):14—21。
[---. “Zheng Zhengqiu and the Emergence of Chinese Film School.” Film Art 2(2018):1421.]
——:《左翼电影的生机、优良传统的确立与中国电影的学派标识》,《当代电影》1(2021):4—11。
[---. “Vitality of the Left-wing Film, Establishment of Fine Tradition and the School Signature of Chinese Cinema.” Contemporary Cinema 1(2021):411.]
——:《进步电影的概念生成、历史语境与中国电影的学派底蕴》,《电影艺术》4(2021):19—26。
[---. “Concept Generation and Historical Context of Progressive Film and School Deposits of Chinese Film.” Film Art 4(2021):1926.]
李焕征鲁晓鹏:《海外华语电影研究与“重写电影史”——美国加州大学鲁晓鹏教授访谈录》,《当代电影》4(2014):62—67。
[Li, Huanzheng, and Sheldon Hsiao-peng Lu. “Research on Chinese-language Cinema Overseas and ‘Rewriting Film History’: An Interview with Sheldon H. Lu.” Contemporary Cinema 4(2014):6267.]
Liu, Qing, “Is There a Future for the ‘Chinese School of Animation’?” Six Tone. 22 November 2021.15 July 2023. <https://www.sixthtone.com/news/1008976/is-there-a-future-for-the-chinese-school-of-animation%3F>.
鲁晓鹏:《跨国华语电影研究的接受语境问题:回应与商榷》,《当代电影》10(2014):27—29。
[Lu, Sheldon H. “The Context of the Reception of Transnational Chinese-language Film Studies: Responses and Discussion.” Contemporary Cinema 10(2014):2729.]
——:《华语电影研究姓“中”还是姓“西”？》,《当代电影》12(2015):105—109。
[---. “The Methods of Chinese Film Study: Chinese or Westernized?”Contemporary Cinema 12(2015):105109.]
吕新雨:《新中国少数民族影像书写:历史与政治——兼对“重写中国电影史”的回应》,《上海大学学报》32.5(2015):13—51。
[Lü, Xinyu. “The Portrayal of Images of the Ethnic Minorities in New China: Concurrently Responding to the ‘Rewriting of Chinese Cinematic History’.”Journal of Shanghai University (Social Sciences Edition) 32.5(2015):1351.]
吕新雨鲁晓鹏李道新石川孙绍谊等:《“华语电影”再商榷:重写电影史、主体性、少数民族电影及海外中国电影研究》,《当代电影》10(2015):46—54。
[Lü, Xinyu, Sheldon Hsiao-peng Lu, Li Daoxin, Shi Chuan, and Sun Shaoyi, et. al. “Renegotiation of Chinese Cinema: Rewriting Film History, Subjectivity, Ethnic Film, and Overseas Chinese Film Studies.” Contem-porary Cinema 10(2015):4654.]
Marchetti, Gina. Citing China: Politics, Postmodernism, and World Cinema. Honolulu: University of Hawai‘i Press, 2018.
邱章红:《中国电影学派:想象的共同体》。2022年7月17日。2023年7月15日。<https://mp.weixin.qq.com/s/qiMIZeNBcMJtLelkFruyMw>。
[Qiu, Zhanghong. “Chinese Film School: An Imagined Community.”17 July 2022.15 July 2023. <https://mp.weixin.qq.com/s/qiMIZeNBcMJtLelkFruyMw>.
饶曙光李道新李一鸣万传法:《对话与商榷:中国电影学派的界定、主体建构与发展策略》,《当代电影》5(2018):4—17。
[Rao, Shuguang, Li Daoxin, Li Yiming, and Wan Chuanfa. “Dialogue and Discussion: Definition, Subjective Construction and Development Strategy of Chinese Film School.” Contemporary Cinema 5(2018):417.]
饶曙光李国聪:《钟惦棐与中国电影学派》,《电影艺术》3(2018):86—93。
[Rao, Shuguang, and Li Guocong. “Zhong Dianfei and Chinese Film School.” Film Art 3(2018):8693.]
石川孙绍谊:《关于回应“海外华语电影研究与重写电影史”访谈的对话》,《当代电影》8(2014):58—64。
[Shi, Chuan, and Sun Shaoyi. “A Dialogue on Rewriting the Chinese Film History in the Overseas.” Contemporary Cinema 8(2014):5864.]
万传法:《上海电影、上海电影传统与中国电影学派》,《当代电影》9(2018):99—102。
[Wan, Chuafa. “Film in Shanghai, Shanghai Film Tradition and Chinese Film School.” Contemporary Cinema 9(2018):99102.]
王逢振:《越是民族的越是世界的:一个悖论》,《外国文学》3(1997):3—5。
[Wang, Fengzhen. “The More of Ethnic Characteristics and the More of the World: A Paradox.” Foreign Literature 3(1997):35.]
王宏建主编:《艺术概论》。北京:文化艺术出版社,2010年。
[Wang, Hongjian, ed. An Introduction to Arts. Beijing: Culture and Art Publishing House, 2010.]
吴俊:《再论“越是民族的,就越是世界的”——从鲁迅的信说到跨文化传播》,《文艺争鸣》6(2020):28—35。
[Wu, Jun. “A Further Discussion on ‘The More of Ethnic Characteristics and the More of the World’: From Lu Xun's Letter to Cross-Cultural Communication.” Literary Contention 6(2020):2835.]
张隆溪:《比较文学研究入门》。上海:复旦大学出版社,2009年。
[Zhang, Longxi. An Introduction to the Study of Comparative Literature. Shanghai: Fudan University Press, 2009.]
张英进:《学术的主体性与话语权:“华语电影”争论的观察》,《二十一世纪》(香港)2(2016):47—60。
[Zhang, Yingjin. “Academic Subjectivity and Discourse: An Observation on the Debate about‘Chinese-language Cinema’.”Twenty-First Century2(2016):4760.]
——:《学术范式与研究主体:回应“重写电影史”的争论》,《文艺研究》8(2016):93—102。
[---. “Academic Paradigms and Subjects of Research: A Response to the Debate on ‘Rewriting Film History’.”Literature and Art Studies 8(2016):93102.]
周星:《建构中国电影学派:传播视域的概念探究与其适应性》,《当代传播》11(2017):67—73。
[Zhou, Xing. “Constructing the Chinese Film School: A Conceptual Exploration from the Perspective of Commu-nication and Its Adaptability.” Modern Communi-cation 11(2017):6773.]
朱晓军:《国家意志与学术自觉的同归与殊途——对构建中国电影学派热的冷思考》,《上海大学学报(社会科学版)》37.6(2020):49—59。
[Zhu, Xiaojun. “Convergence and Divergence of State Will and Academic Self-consciousness: Sober Thought on the Boom of Building Chinese School of Film Studies.” Journal of Shanghai University (Social Sciences Edition) 37.6(2020):4959.]
——:《电影工业美学建构的愿景与困境》。2022年7月19日。2023年7月15日。<https://mp.weixin.qq.com/s/hu-tNwqaKVNMrHvUEiuYrw>。
[---. “The Prospect and Difficulties of Constructing an Aesthetics of the Film Industry.”19 July 2022.15 July 2023. <https://mp.weixin.qq.com/s/hu-tNwqaKVN-MrHvUEiuYrw>.]