【作者】 周小玲；

【导师】 曲春景；

【作者基本信息】 上海大学 ， 电影学， 2013， 博士

【摘要】 无论是建国初批评界讨论的“革命现实主义”还是随后从苏联引进的社会主义现实主义，抑或后来提倡的革命现实主义与革命浪漫主义两结合的创作方法，这些不同的提法都是把革命、阶级斗争等政治话语强加给“现实主义”，让电影逐步服从政治权力的控制。因此，本文将这些不同提法统称为“革命现实主义”。这种“革命现实主义”电影及电影批评经过半个多世纪的发展，负载了过重的意识形态内容，并逐步异化成了一种独尊的创作方法和批评原则。改革开放之后，电影批评围绕着如何去除“革命现实主义”所负载的过重意识形态展开了激烈讨论。可以说，80年代的电影批评史就是“革命现实主义”受到围剿而逐渐丧失其霸权地位的过程。本文对这一消解过程进行了具体分析和研究。从总体上说，“革命现实主义”电影批评在80年代的消解大致可以分为三个阶段：第一阶段70年代末到80年代初，当时电影批评仍然笼罩在革命话语之下，在思想解放运动的引导下，电影批评界试图挣脱政治权力对电影创作与电影批评的规训，于是，电影批评者对“革命现实主义”电影批评进行了重建与现代化改造。这一努力主要从两个方面进行：一是从传统的现实主义理论资源内部对“革命现实主义”进行重构，以启蒙为主的电影批评试图颠覆真实性、倾向性、典型性三者之间的等级秩序来重新定义现实主义，由此导致了社会主义现实主义与批判现实主义之间出现了激烈的话语冲突。二是从现实主义理论资源的外部入手，即引入纪实美学、“现代派”、“非戏剧化”等西方电影理论资源，对电影创作进行形式上的现代化改造。纪实美学在中国的传播一方面是电影批评者试图通过确立真实性对于倾向性的优先地位，来达到去意识形态化的目的，另一方面也通过长镜头理论来突破蒙太奇的专制。同样，对西方“现代派”与“非戏剧化”等理论资源的启用，也是以启蒙为核心的电影批评试图通过表现形式的创新来打碎僵化单一的意识形态，从而达到颠覆革命话语与权力秩序的目的。总之，“新时期”对“革命现实主义”的重构与改造，其实质是启蒙思潮影响下电影批评者的政治诉求在电影批评中的隐性表达。第二阶段出现在80年代中期，如果说“新时期”初对“革命现实主义”的重构与现代化改造，仍然是以承认“革命现实主义”在电影创作和电影批评中的权威地位为前提的话，那么，随着第五代电影的崛起，“革命现实主义”电影批评遭遇到了前所未有的危机。第五代电影以影像美学彻底打破了“革命现实主义”电影的传统，被作为现代电影而备受推崇，但对“革命现实主义”电影成规的突破,也使得“革命现实主义”电影批评很难对第五代电影作出有效的解读。于是影像批评以及西方“宏大理论”批评等多种批评方法纷纷出现。在当时激进的文化讨论中，第五代电影因打破传统而广受赞誉，而谢晋电影则由于对传统伦理价值的维护与对“革命现实主义”电影传统的继承而受到了过分的冲击。不过，需要肯定的是，围绕着第五代与谢晋电影模式而展开的电影批评浪潮实现了电影批评方法的更新，为电影批评界注入了不少生机和活力，各种新批评方法的涌现打破了“革命现实主义”电影批评一统天下的局面，开启了中国电影批评多元化的格局。第三阶段发生在80年代后期，在为娱乐片正名的讨论中，电影批评界实现了对电影娱乐功能的重新认识，这在一定程度上瓦解了中国电影中一贯以来的“文以载道”的精神，将教化功能从电影中松绑，同时也为中国电影的商业化、市场化铺平了道路。可以说，正是在启蒙话语与商业话语的前后夹击之下，雄踞中国影坛半个多世纪的“革命现实主义”电影批评最终消解在中国电影的商业化与市场化的大潮之中。更多还原

【Abstract】 From revolutionary realism in the first days of the republic to socialist realism introducedfrom the Soviet, and then to creation method of the combination of revolutionary realism andrevolutionary romanticism, all of these processes have imposed political discourse such asrevolution and class struggle on realism so that forced the films gradually to yield to the control ofpolitical power. For this reason, all these different versions will be collectively calledrevolutionary realism in this article.After more than half a Century,“revolutionary realism” films and film criticism had alreadyoverburdened ideological content and gradually alienated for a overweening creation method andcritical principle. After the reform and opening to the outside world, film criticism had a heateddiscussion about how to remove the overloaded ideology on revolutionary realism. We may saythat1980s film criticism was a process that revolutionary realism was subjected to criticism andgradually lost its hegemony. Base on that fact, this paper has done a detailed research and analysisof the resolution process. As a whole, the deconstruction of “revolutionary realism” film criticismin the1980s can be roughly divided into three stages.It was the first stage between the late1970s and the early1980s. Then revolutionarydiscourse was still hanging over the film criticism. Guided by thought liberation discourse, filmscritics tried to release film creation and film criticism from disciplines of political power, and thenunder the influence of enlightenment discourse, film critics rebuilt and modernized revolutionaryrealism film criticism. This effort proceeded from the both side: one was to rebuild revolutionaryrealism inside theory resources of traditional realism, the enlightenment-based film criticism triedto redefine realism by subverting the rank order among reality, propensity and typicality thatresulted in fierce discourse conflict between socialist realism and critical realism; the other was toproceed from the external theory resources of realism that included realistic aesthetics, modernistsand de-dramatization, to modernize film creation in form. On the one hand the spread of realisticaesthetics in china was for the objection of deideologization by establishing the priority of realityto propensity, on the other hand was to break the montage tyranny by long-lens theory. Also, theobjection to enable theory resources of western modernism and de-dramatization was to subvertrevolutionary discourse and power order by the innovation of the manifestation that be used todestroy single, rigid ideology. In a word, the essence of the reconstruction and transformation inrevolutionary realism in the new period is the covert expression of films critics’ political demandthat influenced by enlightenment.In the second stage occurred in the middle of1980s. If the rebuilding and modernizing ofrealism in the beginning of new period still assumed that authoritative position of revolutionaryrealism in film creation and film criticism, then with the rise of the fifth-generation movies,revolutionary realism film criticism encountered unprecedented crisis. The fifth-generationmovies which were highly praised as modern films have broken thoroughly the traditions of“revolutionary realism” film. But it was difficult for “revolutionary realism” film criticism tointerpret the fifth-generation movies since the rules of revolutionary realism film were broken.Then variety criticism methods such as image criticism and Great Theory criticism have sprung up.The fifth-generation movies were widely acclaimed for breaking the tradition during the radicalcultural discussion, but Xie Jin’s films were excessively impacted for their maintaining traditional ethical value and inheritance to the tradition of revolutionary realism film. But It should beaffirmed that the wave of films criticism revolved around the fifth-generation and Xie Jin’s filmsmode renewed criticism methods, injected vigor and vitality into films critics. The emergence ofvarious criticism methods broke the dominance of revolutionary realism film criticism, openeddiversity pattern of Chinese film criticism.The third stage occurred in the late of1980s. In the discussion of justifying entertaining films,films critics recognized entertainment functions of films, to some extent, which dissolved thelong-standing tradition of “writing delivering ethics” in Chinese film, relaxed education functionfrom films, and paved the way for commercialization and marketing trend of Chinese film. Underthe force of Enlightenment discourse and commercial discourse,“revolutionary realism” filmcriticism which dominated movies near half a century was finally dissolved in thecommercialization and marketing trend.更多还原