跨国通俗剧,文艺片,以及孤儿想象
摘要
<正>在世界各国的口头表达、文学抒写和戏剧故事里,孤儿的形象十分多见。关于孤儿的文化想象是现代经验至关重要的一部分。伴随着工业革命、殖民蔓延、资本主义扩张,以及接踵而至的民族国家创建和反殖民运动的浪潮,这种孤儿的文化想象越发鲜明。孤儿题材的通俗剧具有突出的国际影响力,由此弘扬了现
引文
原文收录于克里斯汀·格莱德希尔(Christine Gledhill),琳达·威廉斯(Linda Williams)主编.通俗剧的解放:穿越历史、媒介和民族文化(Melodrama Unbound:Across History, Media, and National Cultures)[M].美国:哥伦比亚大学出版社(Columbia University Press),2018:83-97.中译稍有改动。
[1]Mayer, David and Yuri Tsivian.“How The Two Orphans Become the Orphans of the Storm.” In ed. Paolo Cherchi Usai. The Griffith Project:Volume 10. London:BFI, 2006:116-137.Brooks, Peter. Melodrama, Body, Revolution. In eds. Jacky Bratton,JimCook,ChristineGledhill. Melodrama:Stages,Picture,Screen. London:BFI, 1994:11.
[2]杰诚,剑云.孤儿救祖记本事[J].晨星(孤儿救祖记特刊),1923(3):6-8.影片现在没有存残片,文中讨论基于文字材料和剧照。
[3]广告登载于:申报, 1923-12-28.
[4]McHugh, Kathleen. South Korean Film Melodrama:State, Nation,Woman and the Transnational Familiar. In eds. Kathleen McHugh andNancy Abelmann, SouthKoreanGolden Age:Melodrama Gender,Genre,andNationalCinema.Detroit:WayneStateUniversity Press, 2005:17:42.
[5]Buckley, Mathew.UnbindingMelodrama.InChristineGledhill andLindaWilliamseds., MelodramaUnbound:AcrossHistory,Media,andNationalCultures.New York:ColumbiaUniversity Press, 2018:15-29.
[6]Lukács,Gy?rgy. HistoryandClassConsciousness:Studiesin Marxist Dialectics. Boston:MIT, 1923/1971.
[7]Hansen,Miriam.TheMassProductionoftheSenses:Classical Cinema As VernacularModernism. Modernism/Modernity.1999(6.2):59-77.
[8]Tausig, Michael. Mimesis and Alterity:A Particular History of the Senses. New York:Routledge, 1993.
[9]Brooks,Peter. TheMelodramaticImagination:Balzac,Henry James,Melodrama,andtheModeofExcess.NewHaven:Yale University Press, 1976/1995.
[10]Dissanayeke,Wimal.Ed. Melodramaand AsianCinema.Cambridge, UK:Cambridge University Press, 1993.
[11]Singer,Ben.2001.MelodramaandModernity:EarlySensational Cinema and Its Contexts. New York:Columbia University Press.
[12]Williams,Linda. MelodramaRevised.Ined.NickBrowne, Refiguring AmericanFilmGenres:HistoryandTheory.Berkeley:University of California Press, 1998:42.
[13]Gledhill,Christine.“Introduction:TheMelodramaticField:AnInvestigation.” InHomeisWheretheHeartis:Studiesin Melodramaandhe Woman'sFilm.London:BritishFilmInstitute, 1987:18.
[14]Law Kar. Archetypes and Variations:Observations on Six Cantonese Films. In Cantonese Melodrama,1950-1969, The Tenth Hong KongInternationalFilmFestival.HongKong:UrbanCouncil,1997:15.蔡国荣是李安2001年电影《卧虎藏龙》编剧之一,该影片被视为武侠和文艺的完美结合。
[15]Teo,Stephen. ChineseMelodrama:ThewenyiGenre.Ineds.Linda Badley et al. Traditions in World Cinema. New Brunswick,New Jersey:Rutgers University Press, 2006:203-204.
[16]Yeh, Yue-yu Emily. Wenyi andtheBrandingofEarlyChinese Film. Journal of Chinese Cinemas. 2012(6.1):65-94.
[17]这一点叶月瑜主要依据徐卓呆1924年在《影戏学》里的清楚陈述。可参见笔者拙作《银幕艳史》一书第5章涉及徐卓呆和其《影戏学》的部分。
[18]晚清民国的文艺概念和实践,在1949年之后随着西方电影文学传译和传播的锐减甚而封杀而几乎绝迹。毛泽东倡导的和受苏联影响的“大众文艺”另当别论。
[19]姚苏风.《路柳墙花》的编剧者言.银幕周报,1934-10-03.诸多民国时期有较好教育的北京、上海市民懂英文或其他外文。现代上海话里有很多“洋泾浜”词语,可参见笔者拙作《银幕艳史》一书第2章。Zhang, Zhen. An Amorous History of the Silver Screen:Film Culture, Urban Modernity, and Vernacular Experience in China, 1896-1937. Chicago:University of Chicago,1998.
[20]李焯桃编.粤语文艺片回顾1950-1969.香港:香港市政局, 1986.
[21]有关文明戏、鸳鸯蝴蝶文学和早期中国电影的关联,请参见钟大丰相关著作和笔者拙作《银幕艳史》一书第3章有关部分。Zhong, Dafeng, Yingjin Zhang and Zhen Zhang. From Wenmingxi(CivilizedPlay)to Yingxi(ShadowPlay):TheFoundationof ShanghaiFilmIndustryinthe1920s. AsianCinema.1997(9.1Fall):46-64.
[22]黄雪蕾指出美国1931年的有声片的中译名是《空谷兰薰》,唤起观众对多年前空前成功的《空谷兰》的记忆。
[23]Huang,Xuelei.ShanghaiFilmmaking:CrossingBorders,Connecting to the Global, 1922-1938. Leiden:Brill, 2014:141-142.
[24]郑君里.现代中国电影史略[M].上海:良友出版社,1936.
[25]陈建华.从革命到共和:清末至民国时期文学,电影与文化的转型[M].南宁:广西师范大学出版社,2009:250-251.
[26]这是又一个典型的从小说到银幕文艺跨媒介化和通俗剧化哀情剧。“鸳鸯蝴蝶文学之父”徐振亚的原著是比较老派的文言文,1912年在《明报》连载后发行单行本直至1940年代出版了几十种。郑正秋在1924年将小说大刀阔斧改编成电影,更对市民观众胃口,同时照应新文化运动的社会变革理念。
[27]Lee,Haiyan. RevolutionoftheHeart:AGenealogyofLovein China, 1900-1950. Stanford:Stanford University Press, 2007.
[28]周剑云强调“正剧”的新形式有别于明星公司之前的滑稽喜剧和“实事剧”。正剧旨在通过虚构现实主义启动观众情绪和同情,将理念融入现实。
[29]Gledhill, Christine, Linda Williams. Melodrama Unbound:Across History,Media,andNationalCultures.New York:Columbia University Press, 2018:83-97.
[30]陈建华.从革命到共和:清末至民国时期文学,电影与文化的转型[M].南宁:广西师范大学出版社,2009:253.
[31]参见:申报,1923-12.
[32]据称来源于美国无声电影Over the Hill to the Poorhouse(Harry Millarde,1920)。关于朱石磷的影片及其伦理美学意义,请参见李道新.中国电影史研究专题[M].北京:北京大学书出版社,2006:79–90.
[33]Cheah,PhengandBruceRobbins. Cosmopolitics:Thinkingand Feeling beyond the Nation. Minneapolis:University of Minnesota Press, 1998.
[1]Mayer, David and Yuri Tsivian.“How The Two Orphans Become the Orphans of the Storm.” In ed. Paolo Cherchi Usai. The Griffith Project:Volume 10. London:BFI, 2006:116-137.Brooks, Peter. Melodrama, Body, Revolution. In eds. Jacky Bratton,JimCook,ChristineGledhill. Melodrama:Stages,Picture,Screen. London:BFI, 1994:11.
[2]杰诚,剑云.孤儿救祖记本事[J].晨星(孤儿救祖记特刊),1923(3):6-8.影片现在没有存残片,文中讨论基于文字材料和剧照。
[3]广告登载于:申报, 1923-12-28.
[4]McHugh, Kathleen. South Korean Film Melodrama:State, Nation,Woman and the Transnational Familiar. In eds. Kathleen McHugh andNancy Abelmann, SouthKoreanGolden Age:Melodrama Gender,Genre,andNationalCinema.Detroit:WayneStateUniversity Press, 2005:17:42.
[5]Buckley, Mathew.UnbindingMelodrama.InChristineGledhill andLindaWilliamseds., MelodramaUnbound:AcrossHistory,Media,andNationalCultures.New York:ColumbiaUniversity Press, 2018:15-29.
[6]Lukács,Gy?rgy. HistoryandClassConsciousness:Studiesin Marxist Dialectics. Boston:MIT, 1923/1971.
[7]Hansen,Miriam.TheMassProductionoftheSenses:Classical Cinema As VernacularModernism. Modernism/Modernity.1999(6.2):59-77.
[8]Tausig, Michael. Mimesis and Alterity:A Particular History of the Senses. New York:Routledge, 1993.
[9]Brooks,Peter. TheMelodramaticImagination:Balzac,Henry James,Melodrama,andtheModeofExcess.NewHaven:Yale University Press, 1976/1995.
[10]Dissanayeke,Wimal.Ed. Melodramaand AsianCinema.Cambridge, UK:Cambridge University Press, 1993.
[11]Singer,Ben.2001.MelodramaandModernity:EarlySensational Cinema and Its Contexts. New York:Columbia University Press.
[12]Williams,Linda. MelodramaRevised.Ined.NickBrowne, Refiguring AmericanFilmGenres:HistoryandTheory.Berkeley:University of California Press, 1998:42.
[13]Gledhill,Christine.“Introduction:TheMelodramaticField:AnInvestigation.” InHomeisWheretheHeartis:Studiesin Melodramaandhe Woman'sFilm.London:BritishFilmInstitute, 1987:18.
[14]Law Kar. Archetypes and Variations:Observations on Six Cantonese Films. In Cantonese Melodrama,1950-1969, The Tenth Hong KongInternationalFilmFestival.HongKong:UrbanCouncil,1997:15.蔡国荣是李安2001年电影《卧虎藏龙》编剧之一,该影片被视为武侠和文艺的完美结合。
[15]Teo,Stephen. ChineseMelodrama:ThewenyiGenre.Ineds.Linda Badley et al. Traditions in World Cinema. New Brunswick,New Jersey:Rutgers University Press, 2006:203-204.
[16]Yeh, Yue-yu Emily. Wenyi andtheBrandingofEarlyChinese Film. Journal of Chinese Cinemas. 2012(6.1):65-94.
[17]这一点叶月瑜主要依据徐卓呆1924年在《影戏学》里的清楚陈述。可参见笔者拙作《银幕艳史》一书第5章涉及徐卓呆和其《影戏学》的部分。
[18]晚清民国的文艺概念和实践,在1949年之后随着西方电影文学传译和传播的锐减甚而封杀而几乎绝迹。毛泽东倡导的和受苏联影响的“大众文艺”另当别论。
[19]姚苏风.《路柳墙花》的编剧者言.银幕周报,1934-10-03.诸多民国时期有较好教育的北京、上海市民懂英文或其他外文。现代上海话里有很多“洋泾浜”词语,可参见笔者拙作《银幕艳史》一书第2章。Zhang, Zhen. An Amorous History of the Silver Screen:Film Culture, Urban Modernity, and Vernacular Experience in China, 1896-1937. Chicago:University of Chicago,1998.
[20]李焯桃编.粤语文艺片回顾1950-1969.香港:香港市政局, 1986.
[21]有关文明戏、鸳鸯蝴蝶文学和早期中国电影的关联,请参见钟大丰相关著作和笔者拙作《银幕艳史》一书第3章有关部分。Zhong, Dafeng, Yingjin Zhang and Zhen Zhang. From Wenmingxi(CivilizedPlay)to Yingxi(ShadowPlay):TheFoundationof ShanghaiFilmIndustryinthe1920s. AsianCinema.1997(9.1Fall):46-64.
[22]黄雪蕾指出美国1931年的有声片的中译名是《空谷兰薰》,唤起观众对多年前空前成功的《空谷兰》的记忆。
[23]Huang,Xuelei.ShanghaiFilmmaking:CrossingBorders,Connecting to the Global, 1922-1938. Leiden:Brill, 2014:141-142.
[24]郑君里.现代中国电影史略[M].上海:良友出版社,1936.
[25]陈建华.从革命到共和:清末至民国时期文学,电影与文化的转型[M].南宁:广西师范大学出版社,2009:250-251.
[26]这是又一个典型的从小说到银幕文艺跨媒介化和通俗剧化哀情剧。“鸳鸯蝴蝶文学之父”徐振亚的原著是比较老派的文言文,1912年在《明报》连载后发行单行本直至1940年代出版了几十种。郑正秋在1924年将小说大刀阔斧改编成电影,更对市民观众胃口,同时照应新文化运动的社会变革理念。
[27]Lee,Haiyan. RevolutionoftheHeart:AGenealogyofLovein China, 1900-1950. Stanford:Stanford University Press, 2007.
[28]周剑云强调“正剧”的新形式有别于明星公司之前的滑稽喜剧和“实事剧”。正剧旨在通过虚构现实主义启动观众情绪和同情,将理念融入现实。
[29]Gledhill, Christine, Linda Williams. Melodrama Unbound:Across History,Media,andNationalCultures.New York:Columbia University Press, 2018:83-97.
[30]陈建华.从革命到共和:清末至民国时期文学,电影与文化的转型[M].南宁:广西师范大学出版社,2009:253.
[31]参见:申报,1923-12.
[32]据称来源于美国无声电影Over the Hill to the Poorhouse(Harry Millarde,1920)。关于朱石磷的影片及其伦理美学意义,请参见李道新.中国电影史研究专题[M].北京:北京大学书出版社,2006:79–90.
[33]Cheah,PhengandBruceRobbins. Cosmopolitics:Thinkingand Feeling beyond the Nation. Minneapolis:University of Minnesota Press, 1998.