摘要：
自1915年中国报刊上首次出现卓别林的名字以来，中国观众对卓别林电影的接受已逾百年。最初，卓别林被中国观众称为“滑稽大王”，这是他在中国获得的最早、也是最有影响的一副面孔。1930年代初，左翼批评家透过阶级分析的滤镜，赋予卓别林无产阶级同情者的身份。1952年，卓别林与美国政府决裂，成为社会主义阵营着力争取的世界知名人士，在苏联和中国又被塑造为受美国政府迫害的进步艺术家。新时期，中国密集译制卓别林电影，在接受过程中，意识形态因素退场，其电影喜剧技巧成为人们的关注重点。卓别林电影在中国的百年接受史为跨文化接受史研究提供了一个典型案例，可由此反观近代以来中国社会变迁的侧影。
关键词:
卓别林,
滑稽电影,
译制电影,
跨文化接受史
Abstract:
Since the first appearance of Chaplin’s name in China in 1915, there has been more than a century.
At first, Chaplin was called“Funny King”by Chinese audience. In the early 1930s, left-wing critics gave
Chaplin a new image representing his class position, that is,“the sympathizer of the proletariat”. In 1952,
Chaplin broke with the U.S. government, which made him a world-famous figure drawn by socialist camp.
In the Soviet Union and China, he was portrayed as a progressive artist persecuted by the U.S. government.
In the new era, China has intensively translated Chaplin films and tried to make them as image resources to
expose the disadvantages of capitalist society, but the audience has made diversified reception of these films.
The comedy skills of his films have become the focus of attention, and he was finally regarded as a master
of comedy art. The reception history of Chaplin’s films tells us that there are rich topics in the area of cross-
cultural reception history in China, which can reflect on the profile of China's social changes since modern times.
Key words:
Charlie Chaplin,
comic film,
dubbed film,
reception history