【作者】 王艳云；

【导师】 陈犀禾；

【作者基本信息】 上海大学 ， 中国现当代文学， 2008， 博士

【摘要】 本论文视野中的早期中国电影,是指1949年之前的中国电影,上海影像则指那些以20世纪前半期的上海作为故事空间的影片。在百年中国电影史上,上海影像是个特殊的存在。本论文即以早期中国电影中的上海影像为研究对象,通过一种都市的角度,重点考察了上海影像与现代上海的关系、上海影像的多重建构、上海影像的叙述策略,以及上海影像的文化标识等四个方面。选择一种都市的视角对上海影像进行观照,也就是确定了以上海影像对上海这个城市的构形为本论文的考察重点。也就是说,本论文不是将“上海影像”看作百年中国电影史上的一个专题来考察,而是对“上海影像中的都市”,即电影文本中想象的上海进行审视,再从这个角度来反观上海影像。这样,本论文的研究分为三个层面。首先是影像的层面,主要强调上海影像中的上海具象化的影像特征。第二个层面主要是指观点与叙述的层面,着重指上海影像中的上海背后的“故事”,即“故事”背后的价值立场。第三个层面是叙述的层面,即重点观照上海如何成为以及成为一个怎样的文化生长空间,从故事的内在叙述入手,致力于揭示电影中的上海被想象的过程与方式。将上海影像对都市的建构看作是现代中国一个重要的文化生产形式,本论文从都市视角下对上海影像的关注,首先是基于对都市文化研究的一个回应。选择早期中国电影中的上海影像为上海文化研究的切入口,采用电影研究和文化研究相结合的方法,对当代中国、当代城市和当代上海的发展,都提供了一定的借鉴意义和参考价值。其次,上海影像的发展历程,也是一个上海身份与面相不断丰富的历程。故事母题与二元性话语并存在上海影像中,不断扩充着上海的空间。强调上海影像的模式化存在,可以明确并提升以老上海为故事空间的这一类影片的艺术形态和历史位置,构筑新的电影艺术创作整体观。再次,在电影史研究的立场上,因着现代上海与早期中国电影的密切关系,对早期上海影像的这样一个从都市视角下的研究,可以通过对电影文本中多重身份构形的、有着多种故事母题的上海空间的考察,使本论文也自觉地进入到对历史重新审视的行列中。通过对早期中国电影史中一段特定历史经验的再次激活,为深化电影历史的再思索,提供一种新的视角和问题空间。论文共分为六个部分。绪论部分,首先阐明本论文的选题背景,总结前人的研究成果,从总体上明确本论文的存在意义、研究视角,以及基本的写作态度和目的。第一章,梳理现代上海与上海影像的关系。现代上海是上海影像产生的母体,而上海影像又是以上海为故事空间的影片。现代上海的发展与最终成型,对上海影像如何表现上海起着决定性的作用。具体说来,现代上海对上海影像的影响集中体现在现代上海的都市风貌、中下层市民的民生问题、好莱坞文化的渗透以及大众媒介的发展等四个方面。第二章,分析上海在上海影像中多重身份的裂变。上海在上海影像中的身份建构呈现出多元化的态势。在早期上海影像近四十年的发展历程中,影像中的上海出现了四种不同的身份,分别是游戏与猎奇的“雾化”上海、教化与改良的洋场上海、新兴电影文化作用下的狰狞上海和世俗的上海。第三章,着眼于上海在上海影像中如何被修辞与叙述。本章依据“凝视”与“听”这两条叙事途径,说明建筑空间、都市色彩、女性身体与电影歌曲等上海文化的几个重要组成部分在上海影像中不同的叙事建构,以此来寻找它们在表现上海影像时的不同功能。上海影像的发展历程,是都市模式化存在的过程。在上海影像内部,有着多元化的故事母题,并使得上海影像产生二元化的叙事结构。以传统/现代这样一组二元结构进行个案分析,探讨愉悦与创伤两种都市现代性的情感体验,可以使上海模式化存在的面貌会更加明确。第四章,考察作为上海影像文化标识的都市文明与女性。本章从都市文明与女性两个方面来进行考察。对物质生活的追逐,以及表征都市新秩序的时间,从不同层面丰富着上海空间的文化标识。上海影像的女性构形是都市的性别身份。职业女性和家庭女性为上海影像的塑造增添了时代因素与性别文化特征。职业女性是上海影像想象女性的新方式,而都市太太则是家庭女性的现代表达。结语部分,在当代视域下考察上海影像。新中国建立后,上海影像呈现出不断被简化和单一化的趋势,这种趋势是中国在现代化进程中各种价值力量在不同历史语境相互冲突的结果。上海影像在历史流程中的沉寂、消失与复兴,以及在内部话语力量上的博弈与更替,不仅是阐释当代中国身份建构的有效资源,同时也是新的文化空间得以形成的有力指代。更多还原

【Abstract】 In China, there is no other city like Shanghai that is paid attention so frequently. In Shanghai, there is no other period like the first half of 20^th century that is so favored and valued by cinema. In this period, Shanghai, as a cinema space, is narrated, explained and configured over and over during the one hundred years Chinese cinemas.The purpose of this writing is significant to the following: reflecting Shanghai cinema history, enriching current creative writing of Shanghai imagination, and investigating the development trend of modern China, modern city and modern Shanghai.This dissertation takes the early Chinese cinema that Shanghai is the story space as its reviewed object. It discusses the history flow, emerging mechanism, narrative pattern and cultural connotation of Shanghai image in early Chinese cinema. So, the content of this dissertation is classified to 3 stratifications. The first stratification is image stratification, emphasizing on the scene, history, memories and space and such substantial image characteristics. The second stratification is the viewpoint stratification, stressing on the "stories" behind image, and the values standpoints behind the "stories". The third stratification is narrative stratification, highlighting how Shanghai become a cultural growing space and what it will be like, engaging in discovering the course and style which Shanghai is imagined in cinemas through the internal story narration.Through the above 3 stratifications, this dissertation has an comprehensive explanation and reflection, using an open and presenting -like angle of view, demonstrates the whole scene of Shanghai image.This dissertation has 6 parts:The introduction conceptualizes the topic, discusses the background and its significance, introduces research methodology, and clarifies the meaningfulness of this dissertation and the fundamental writing manner.ChapterⅠ, this part combs the history course of Shanghai image in early Chinese cinema. According to the status and function of Shanghai in cinema narration, early Chinese Shanghai image has 4 history stages. It explores the situation and cultural connotation of various history stages, indicates the era factor and discourse power behind it, and outlines the history general picture and cultural vicissitude of early Chinese Shanghai image.ChapterⅡ, this part analyzes the Shanghai image history language context emerging during the first half of 20^th century. It discusses from 4 aspects: the formation of modern Shanghai scene, the middle and low status resident’s livelihood demands, the influence of Hollywood cinema, and cinema technique and modern media development. These four aspects determine the whole style and trend of Shanghai in early Chinese cinema.ChapterⅢ, this part focuses on the narrative model of Shanghai image. According to "see" and "listen" these 2 narrative ways, it illustrates the various narrative construction of architecture space, feminine body, cinema music and songs in Shanghai image, tries to find their different functions when they demonstrate Shanghai image. Type analysis is an effective method to research Shanghai image narrative model. This dissertation analyzes the cultural concept of Shanghai, which is seen as a cinema space, through a dual structure: advanced vs. backwardness, the proletarian vs. has the producing.ChapterⅣ, this part illustrates the cultural connotation of Shanghai image. This chapter probes from metropolitan civilization and feminine aspects. Metropolitan civilization is the main color of Shanghai image. The pursuing of material life and the new order, which caused by time, enriches Shanghai cultural experiences from different stratifications. Woman is the gender identity of Shanghai image. Professional and family women add era factor and gender cultural characteristics to Shanghai image construction.The conclusion part pondered on Shanghai image again. Shanghai image has complexity and poly tropism in early Chinese cinema. However, afterwards, there is a tendency of simplification and unification. This tendency results from the confrontation of various values, within different history language context during Chinese modernization course.更多还原