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1920年代：民族认同与中国早期电影的确立
【作者】秦喜清 【导师】李少白
【作者基本信息】中国艺术研究院，电影学，2006年，博士
【摘要 (中文/英文)】 本篇论文以1920年代中国电影在上海的发生、发展为研究对象。 论文以“民族认同”为主纲,以历时发展为经线,以影响研究为纬线,描述中国电影如何在欧美电影的强势影响之下确立起来。作者从三个方面理解1920年代中国电影的发生、发展过程
1) 1920年代初,欧美电影中的华人形象造成中国观众的认同焦虑,而摆脱对华人的定型化表现,在银幕上展示民族形象成为中国电影公司兴办的一个重要动机
2) 起步之后的中国电影所面临的最主要问题就是如何在借鉴欧美电影的过程中确立本国电影的民族身分,即寻找到中国观众认可的民族电影形式,在这当中,“华式”与“欧化”显示出中国电影的两种文化取向;(3) 从1920年代中期开始,中国电影转向中国民族民间文化,逐步引发古装片、武侠片热潮,在竞拍商业影片的大潮中满足着对中国民族特性的表达。 论文作者认为民族认同是促成兴办中国电影业的动机之一,它决定了借鉴与学习过程中对中西两种文化的选择并最终促成中国古装片、武侠片两大商业片类型的形成。这是本篇论文理解与描述1920年代电影的一条基本线索。 论文共分五个部分。第一部分《欧美电影的放映与中国观众的民族认同焦虑》,梳理了1920年代欧美电影在华的放映情况,介绍了以侦探长片、喜剧片和爱情短片为主要片种的西片放映格局,同时讨论了美国影片中的华人形象给中国观众带来的民族认同焦虑,以及国人对“中国电影”的渴望与期盼,在这种环境之下登上历史舞台的中国电影被赋予了满足民族认同和民族自我期待的崇高使命。第二部分《初始的模仿与选择》,讨论1920年代初期中国电影如何从仿制入手,开始了侦探片、爱情片和喜剧片的试验与探索,以《阎瑞生》、《红粉骷髅》、《海誓》和《劳工之爱情》等影片为例,探讨了中国试制电影与欧美影片的影响关系,在此部分还讨论了在“商务”、“上海影戏”和“明星”形成的竞拍态势中,初露端倪的“欧化”与“华式”两条发展路径,包括“商务”早期长片的国家意识和影像风格上“欧化”色彩;“上海影戏”对欧美儿童片的摹仿以及“明星”以《孤儿救祖记》为代表的比较民族化的创作方向。第三部分《“明星”个案:民族意识与融冶中西文化》,以“明星”中的郑正秋、包天笑和洪深的创作为例,探讨他们实现电影本土化的方式,郑正秋对本民族特性的体认、包天笑对西方文学的转化以及洪深对刘别谦心理描写手法的借鉴,既涉及他们创作的个性,同时也表明“明星”集体注重电影民族特性的共同特征。第四部分《“欧化”:民族认同的缺失》,作者以“知识分子电影”概括了在思想意识上比较西方化的“长城”、“神州”、“民新”等公司的创作,他们成为中国电影与“五四”新文化相联系的纽带,其影片由于思想意识上的西化色彩而受众面狭窄:另一方面,在影像风格上极力摹仿西片的“大中华百合”则备受诟病,本文在指出这一缺陷的同时,也试图较为客观地描述和评价该公司的创作面貌。第五部分《古装-神怪-武侠片:传统叙事与民族认同》将梳理这些影片的形成过程及历史成因,作者认为古装-神怪-武侠片是在欧美电影的直接影响和启发之下,中国电影开始转向传统叙事如《西游记》、《封神演义》以及众多民族民间文学,为中国电影的民族特性表达寻找到深厚的文化资源,满足了中国观众对电影民族认同的要求。在此过程之中,电影摄影技术的发展为这一探提供了可能性。 本文最后指出,1920年代是中国电影发展史上第一个重要的10年,它不仅试制了各种类型的影片,而且将传统的基本叙事种类一一搬演到银幕当中,完成了传统娱乐方式向电影的转化,由此确立了中国电影的基本模式。民族认同是一个建构的和不断发展的概念,随着中国电影的历史发展,它的内涵也将不断发展变化。
This thesis is a study of how Chinese film started and developed in Shanghai in the 1920s.Taking "national identity" as its guideline, the thesis describes how Chinese film established itself under the powerful influence of European and American movies. The description includes both chronological development and some case studies that compare Chinese and western films. The author thinks that the development of Chinese film in the 1920s can be divided into the following three periods. (1) In the early days of the 1920s, the stereotyped Chinese in the American movies caused identity anxiety among Chinese audience and to depict real Chinese on screen became the driving force for the booming of film studios in Shanghai. (2) Along with the start of Chinese national film industry, Chinese film constantly pursued the national identity of Chinese film, that is the film satisfying the requests of national identification , while learning much from European and American movies. Therefore two different ways of representation were created: "Chinese style" and "Western way", which are also two cultural orientation for Chinese filmmaking. (3) Since the middle of the 1920s, Chinese film began to turn to traditional and folk narratives, which led to a peak development of ancient-costume movie and wuxia movie that expressed the national identity in the disguise of commercial competition. And this is the way the author understands and tries to reconstruct the Chinese film in the 1920s.The thesis is composed of five sections. In the first section, the author describes and discusses how and what European and American movies introduced in Shanghai, the stereotyped Chinese in those films causing deep national identity anxiety and the Chinese early filmmakers' responses to that anxiety. The second section mainly focuses on the initial stage of Chinese film, its imitation of foreign movies while showing distinctive inclination towards Chinese and Western styles. The early films by Commercial Press Film Studio, Shanghai Photoplay Company and Star Film Company will be discussed in this section. The third section will make a case study of Star Film Company as its main screenwriters and directors, such as Zheng Zhengqiu, Bao Tianxiao and Hong Shen, express clear national consciousness in their movies. Their films will be examined to see how western narratives were adopted into Chinese movies. The author thinks that their work set an example for the localization of film in China. In the fourth section, the lack of national identity as a problem of early Chinese film produced by some of the studios is discussed. The author gives special attention to some intellectual films made by the Great Wall Film Company, Shenzhou Film Company and Minxin Film Company. The Great China and Lily Film Company is discussed here as it was often criticized for its "western way" of filmmaking. The Section 5 will examine the historical, psychological, aesthetic and national causes for the coming of ancient-costume movie and wuxia movie. The influence of western history films, the films by Douglas Fairbanks and others is also put into the consideration.The author thinks that the 1920s is the first important decade for Chinese film, during which different genres of films were shot in Shanghai by Chinese film companies and the traditional Chinese forms of entertainments were transformed into movies and found their way in the new representation system. In the construction of Chinese film, national identity played a very important role.
【关键词 (中文/英文)】 1920年代; 民族认同; 欧化; 传统叙事 1920s; national identity; western way; traditional narrative
【发表年期】2006年07期 【网络出版投稿人】中国艺术研究院 【DOI】CNKI:CDMD:1.2006.060507 攻读期成果
