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学界对于中国电影创作的研究,常常不可避免地会以片中人物(“自我”)与其所处社会空间之间的关系分析作为逻辑起点。学者们认为电影情节中的戏剧性关联从本质上能够反映出意识形态现实,这种例证在中国当代电影中比比皆是。而中国电影创作中常常贯穿、延续着新中国成立前儒家传统与新中国成立后社会主义意识形态之间的矛盾性问题,也恰恰是这种连续性和矛盾性开启了影片中自我、家庭、工作岗位以及国家——这些关涉社会整体性想像的各个基本方面之间的关系。从这些理论前提入手,本文试图讨论中国电影中最为错综复杂且激动人心的流行叙事样式,这一样式体现出传统的社会道德体系与新兴国家意识形态之间的相互妥协,进而清楚有力地阐明处在两者夹缝之间的故事中的人物情感矛盾与情节冲突所能企及的范围与表现力度。这一叙事样式正是在西方早已广为人知的“情节剧”。由于这一分类不同于传统的中国类型电影体系,所以在使用这一概念的时候,有必要进行一些理论观念的跨文化平移。
The study of Chinese filmmaking by academic circles often inevitably takes the analysis of the relationship between the film’s characters ( “self ”) and the social space in which it is located as the logical starting point. Scholars think that the dramatic correlation in the cinematic plot essentially reflects the realities of ideology. Such examples are abound in contemporary Chinese movies. However, the continuity of the Confucian tradition before the founding of New China and the socialist ideology after the founding of New China are often perpetrated through the creation of Chinese cinema, and it is precisely this continuity and contradiction that opens up the self, family, Work place and country - these relate to the basic aspects of social holistic imagination. Starting from these theoretical premises, this article attempts to discuss the most intricate and exciting popular narrative style in Chinese film. This style reflects the mutual compromise between the traditional social moral system and the emerging state ideology, so as to clarify clearly Between the two caught in the story of the characters emotional conflicts and plots can be scope and performance intensity. This narrative style is the “melodrama” that is widely known in the West. Since this classification is different from the traditional Chinese type film system, it is necessary to carry out some cross-cultural translation of the theoretical concepts when using this concept.