互动与整合—海派文化语境中的电影和文学

【作者】 盘剑；

【导师】 陈坚；

【作者基本信息】 浙江大学 ， 文艺学， 2004， 博士

【摘要】 本论文以海派文化语境中的电影和与电影有关的文学为研究对象，从文化的角度展开对有关理论、创作现象以及电影与文学关系的分析和探讨。 论文认为海派文化是一种现代大众文化，这种文化以工业化、商业化现代都市为环境，以大众传播媒介所造就的现代大众为前提，在由现代都市和现代大众所构成的现代大众社会中诞生。而作为机械文明和科学技术发展产物的电影既是一种新型艺术，也是典型的文化工业产品，具有大众文化性质，并充分表现着现代大众文化的特征。 在阐述了现代都市与海派文化、海派文化与海派文学、海派文学与海派电影的相互关系，论证了海派文化的基本性质和特征之后，论文主要通过分析鸳鸯蝴蝶派文人的电影创作、《现代电影》及其“软性电影”论者的文化表达、革命文艺与商业文化的双向选择，以及洪深《申屠氏》创作的非商业性及其失利后创作的调整，揭示了海派电影理论、创作及与文学关系的复杂性和矛盾、统一性，表现了海派电影“现代与传统同在、政治与娱乐兼容、艺术与商业结合、电影与文学互动”的主要特点——这些特点同时也是海派文化的特点。论文不仅回到历史、尊重历史，力图还原历史，而且立足现实，试图在相似的文化语境中建立历史与现实的呼应关系，因此既在正文里偶尔跨越时空论述，更在“结语”中通过论证大众文化的阶段性和海派文化在当下的广泛延续，指出：黄嘉谟强调电影的娱乐性、刘呐鸥追求纯粹视觉化的“‘电影的’电影”、左翼作家与商业电影公司合作、洪深从艺术的非商业化走向商业化艺术，乃至鸳鸯蝴蝶派文人在现代和传统中寻找、及通过文学化的爱情、伦理故事制造商业“卖点”等，都不仅在当时具有不可置疑的文化合理性，在今天看来，其对于我们当下电影、文学创作和文化建设的借鉴意义也显而易见。更多还原

【Abstract】 The writer discusses the films of Shanghai-style culture and the literature relating to films in this academic thesis.He analyses and researches related theory and creation as well as the relationship between films and literature from the angle of culture.The writer thinks that Shanghai-style culture is a kind of modern and popular literature, which has a background of industrial,commercial and modern city and which was born in the modern and popular society.As the result of mechanical civilization and science and technology, the film is both new pattern art and typical product of industrial culture. The film possesses the feature of popular culture and manifests the feature.By analysing the film creation,cultural demonstration,two-way choices for revolutionary literature and commercial culture and " Shentushi" by Hongshen, the writer promulgates the complex nature, the identity of opposites of Shanghai-style film theory, creation and the relation to literature. He lays bare the main characteristic of Shanghai-style films - the coexist of modernity and tradition, the compatibility of politics and amusement, the combination of art and commerce and the interaction of films and literature, all of which are also the features of Shanghai-style culture. The writer attempts to establish the coordinating relation between history and reality in the similar cultural background, pointing out that Huangjamo’s emphasis on film’s amusement, Liunaou’s seeking pure visual " film’s" films, the cooperation between Left-wing films and commercial film companies, Hongshen’s changes from noncommerce to commerce and the Yuanyang and Hudia Pai’s "promoting the sale " of their works through literary love stories and ethical stories not only had the cultural rationality in those years but also there is much that we can make use of in our films, literary creation and culture construction nowadays.更多还原