“妖艳繁华”后的和平呼声:沦陷时期中国歌舞片的现实隐喻书写——重读《凌波仙子》《万紫千红》
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摘要
美工出身的导演方沛霖,在执导了《化身姑娘》《武则天》《银枪盗》等不同类型电影后,转而投向其热爱的歌舞片的创作中。从1930年代末开始共创作了9部歌舞片,其中沦陷时期有5部,歌舞片的创作为其赢得了"歌舞片权威导演"的声誉。本文通过梳理《凌波仙子》和《万紫千红》两部歌舞片创作与放映的过程,认为方沛霖在上海沦陷时期通过歌舞片的创作,完成了从"破坏"到"建设"的隐喻书写;隐藏在商业类型电影"妖艳繁华"背后的是作者对和平的现实主义追求和呼吁。对上海沦陷时期歌舞片的内涵意义进行更加深入细致的解读,将其对于和平的隐喻书写考量在内,有助于当下更多类型电影的创作。
Fang Peilin,acting as an art designer originally,turned to creating his favorite musical films after directing some different types of films,such as Hua Shen Gu Niang,Wu Zetian,Yin Qiang Dao. Nine musical films had been created since the late 1930 s,including five ones in the occupation period,which won the reputation of "authority director of musical films". By sorting out the process of creation and release of Ling Bo Xian Zi and Wan Zi Qian Hong,the author argues that Fang Peilin finished the metaphor writing from"destruction"to"construction"by creating the musical films in the occupation period. What was hidden in the "flamboyant prosperity"of commercial films was the pursuit of and call for the peaceful realism. Interpreting the connotation of musical films in the period of Shanghai's occupation deeply,that is,considering the metaphor writing of peace,helps the present creation of more films.
Fang Peilin,acting as an art designer originally,turned to creating his favorite musical films after directing some different types of films,such as Hua Shen Gu Niang,Wu Zetian,Yin Qiang Dao. Nine musical films had been created since the late 1930 s,including five ones in the occupation period,which won the reputation of "authority director of musical films". By sorting out the process of creation and release of Ling Bo Xian Zi and Wan Zi Qian Hong,the author argues that Fang Peilin finished the metaphor writing from"destruction"to"construction"by creating the musical films in the occupation period. What was hidden in the "flamboyant prosperity"of commercial films was the pursuit of and call for the peaceful realism. Interpreting the connotation of musical films in the period of Shanghai's occupation deeply,that is,considering the metaphor writing of peace,helps the present creation of more films.
引文
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[11]看完《万紫千红》试片以后[J].三六九画报,1944(22).
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[15]石川.家的重建:中国电影的一种叙事策略研究[C].第4届中国影视高层论坛论文集,2006.
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[2]傅葆石.双城故事:中国早期电影的文化政治[M].北京:北京大学出版社,2008.
[3]李道新.作为类型的中国早期歌唱片---以30-40年代周璇主演的歌唱片为例兼与同期好莱坞歌舞片比较[J].当代电影,2000(11).
[4]周艺,饶曙光.方沛霖:早期国产商业电影风向标[J].电影艺术,2010(2).
[5]丁珊珊.莺歌燕舞外的政治杂音---重读影片《万紫千红》[J].当代电影,2016(3).
[6]大卫·波德维尔.电影艺术:形式与风格[M].彭吉象,等译.北京:北京大学出版社,2008.
[7]高扬.影评:“凌波仙子”[J].立言画刊,1944(288).
[8]方沛霖.关于歌舞片[J].新影坛,1943(5).
[9]万紫千红:中日初度合作的歌舞片[J].华影周刊,1943(41).
[10]真、善、美:万紫千红放射辉煌的异彩[J].华影周刊,1943(4).
[11]看完《万紫千红》试片以后[J].三六九画报,1944(22).
[12]歌舞影片“万紫千红”:十二日举行特映会[J].三六九画报,1944(11).
[13]托马斯·沙兹.好莱坞类型电影[M].冯欣,译.上海:上海人民出版社,2009.
[14]凌波仙子座谈会[J].新影坛,1943(5).
[15]石川.家的重建:中国电影的一种叙事策略研究[C].第4届中国影视高层论坛论文集,2006.
[16]侯枫.中国歌舞片之路[J].现象,1935(2).