中国电影事业的开拓者

【作者】 艾青；

【导师】 周斌；

【作者基本信息】 复旦大学 ， 影视文学， 2010， 博士

【摘要】 在中国早期电影史(1905-1937年)上,明星影片公司(1922-1937年)作为独立的电影公司,经营时间最长,出品数量最多,是中国早期电影史上诸多关键时期的重要“在场”和“中心”,深刻影响了中国早期电影的发展走向。前人虽有对明星公司单个编导及其创作的论述,但几乎未见对明星公司群体及其特征的系统性探研,也很少从一定的理论高度和社会、经济、文化的广度和深度对明星公司在中国电影史上的地位和存在意义进行界定。因此,本论文将对明星公司进行全方位的发掘,从微观研究出发还原公司发展历程,从美学范型归纳和具体作品细读探寻“明星”电影人开拓出的本土化电影创作与市场生存的模式,以及他们为中国电影事业和中国文化现代化进程作出的不懈努力。本文认为,明星公司是中国电影事业的“开拓者”,对中国电影工业发展、电影美学风格及文化样貌的塑形,作出了开拓性的历史贡献。本文由绪论、正文六章及结语组成。绪论部分首先阐明论题的提出意义、国内外研究现状述评、史料准备及本文的研究思路。正文部分依次从工业、美学、文化三个层面进行整体性的考察。第一章,梳理了明星公司的发展历程,进而归纳其生产、发行、放映的工业运作模式。认为,明星公司首先凭借制片业绩奠定了在中国电影制作业最高水准的地位,进而拓展特有的宣传发行与放映机制,形成第一个相对成功的发展模式,它的成功也意味着中国电影工业真正开始建立。从第二章至第五章,挖掘了明星公司的电影创作(文中称为“明星电影”)在建构中国电影民族身份和探索本土化生存历程中积累的四种可资借鉴的美学范型。本文归纳为：商业美学、改良主义美学、现实主义美学和通俗情节剧美学。它们在不同的社会时代、文化语境下成为主流取向,它们之间或曾和谐共处,或曾演变更迭,构成了“明星电影”驳杂的美学形态。第二章,在归纳“明星电影”商业美学特征的基础上,以张石川为范例,历时分析了他在明星公司16年创作中形成的商业美学惯例,论证了他为“明星电影”乃至中国电影商业美学作出的先驱式贡献,重新解读了张石川作为“中国电影之父”的历史地位。第三章,以郑正秋和包天笑20年代的创作为范例阐述了“明星电影”的改良主义美学范型。认为,郑正秋以“长片正剧”的艺术实践,开启了中国电影对“功能”的关注,形塑了改良主义美学范型,成为另一个意义上的“中国电影之父”。而“鸳蝴派”文人包天笑的言情剧创作使“改良”呈现了更为复杂的色彩。本章还从“女性特质”的角度,阐释了“明星电影”对民族主义书写的参与方式。第四章,阐述了“明星电影”随着30年代电影界转变作风后逐渐发展成熟的现实主义美学范型,分析了其在“新兴电影运动”不同阶段凸显出的美学风格,以夏衍、洪深、程步高、沈西苓的创作为范例,透析了他们具有差异特征的现实主义创作,呈现了“明星电影”现实主义美学范型的丰富性和复杂性。第五章,在归纳“明星电影”通俗情节剧美学特征的基础上,选取《空谷兰》、《姊妹花》和《马路天使》这三部在不同时代具有里程碑意义的作品为范例进行细读,以求对通俗情节剧在“明星电影”中的发展脉络及其范型意义作管窥。第六章,从明星公司与上海城市文化空间的两个交集：“亭子间”与“洋泾浜”出发,探讨空间交织生发出的群体文化特质及现代性。认为,明星公司依靠精明眼光与实干精神脱离草根阶层,与当时处于从“边缘”走向“中心”现代化进程中的中国电影具有同质性,明星公司形成的对多种美学风格的包容性以及在新与旧、中与西的文化生态上的混杂性,对中国电影文化样貌的形成具有重要的个案意义。结语部分,总结了明星公司在中国电影史上的地位及开拓性贡献,将其与“大中华百合”、“天一”、“联华”等曾经与之“鼎足而立”的三家公司进行比较,思考“明星模式”对当下中国电影产业和文化发展的启示意义。更多还原

【Abstract】 In the early history of cinema in China(1905-1937), as an independent film company with the longest duration of operation and the largest number of film products of all films of the time, the Mingxing Film Company(1922-1937) was the important "presence" and "center" in many critical periods of the early history of cinema in China, with its deep influence on the development trend of the early cinema in China. Although early discussions by previous scholars about single screenwriters and directors and their creations of the Mingxing Film Company can be found, very little systematic research and exploration has been done with reference to the groups and characteristics of the company, and very little work has ever been done to define the Mingxing Film Company’s position and significance of existence in the history of Chinese cinema on some higher theoretical level and to the certain social,economic and cultural extent and depth.Therefore, this paper works to explore the Mingxing Film Company on an overall basis, trying to trace and map out the entire development path of the company by microscopic research, trying to peruse and investigate the model of localized film creation and market survival established by the Mingxing Company’s film workers by means of induction of the aesthetic patterns and from specific works, and to reveal the Mingxing Company’s unremitting efforts in facilitating the development of cinema in China as well as the process of modernization of Chinese culture. This paper argues that the Mingxing Film Company is the pioneer of cinema in China, which has made pioneering contributions to the development of film industry in China as well as to the shaping of the styles of Chinese film aesthetics and cultural appearances.This paper is comprised of six chapters which form the body of this paper, the introduction and the conclusion.The introduction clarifies the significance of the topic raised, comprehensive status review of related researches home and abroad, and preparation of historical data as well as basic clues for constructing this paper. The body of this paper comprehensively examines the Mingxing Company in terms of three aspects orderly from industry, aesthetics to culture.The first chapter, captures and clarifies the development path of the Mingxing Company, and then summarizes the industrial operation model of its production, distribution and showing. The paper argues that the Mingxing Company first established its position as the top film-maker with the highest level of film-making technologies in then China owing to its good film making performances, and then the Mingxing Company began to further expand its particular system of promotion, distribution and showing. And this formed the very first relatively successful development model,and the success of the Mingxing Company indicates the true beginning of the building of the film industry in China.From chapterⅡto chapter V,the paper explores the four aesthetic patterns that can still be taken into current account, which were created in the process of constructing the national identity in Chinese films and exploring the localized survival by the Mingxing Company’s film creations (also called "the Mingxing Films" in this paper).This paper summarizes those patterns as: commercial aesthetics, reformist aesthetics, realistic aesthetics and melodramatic aesthetics. These patterns became mainstream orientations in different social times and cultural contexts. They might have shared the harmonious co-existence or have come and gone by evolutions and replacements, constituting the heterogeneous aesthetic forms of "the Mingxing Films". ChapterⅡ,on the strength of summarizing the traits of the commercial aesthetics of "the Mingxing Films",and taking Zhang Shichuan as an example, analyzes his commercial aesthetics routine which took shape in his 16 years of creation for the company and demonstrates his pioneering contribution to "the Mingxing Films" as well as commercial aesthetics of Chinese films, and this chapter also re-interprets his historical status as the "Father of the Chinese Cinema".ChapterⅢ, exemplifying the creations by Zheng Zhengqiu and Bao Tianxiao in the 1920s, explains the pattern of reformist aesthetics of "the Mingxing Films".This chapter argues that Zheng Zhengqiu evoked the concerns of Chinese cinema to "functionality" for the first time through his artistic practice of the "long film and serious drama" and shaped the pattern of reformist aesthetics. Thus he became another "Father of Chinese Cinema" in another sense. On the other hand, Bao Tianxiao, as the literati of the "Mandarin Duck and Butterfly", gave the"reform" a more complex color with his creations of romantic melodrama. This chapter interprets as well the way "the Mingxing Films" participated in the nationalist writing from a kind of "feminine particularity"angle.ChapterⅣ,interprets the pattern of realistic aesthetics which gradually grew to its maturity after the change in the style of the Chinese cinema in the 1930s, and analyzes its aesthetic styles that prevailed in the different phases of the "New Cinema Movement".This paper also exemplifies the creations of Xia Yan,Hong Shen, Chen-Bugao and Shen Xiling and examines thoroughly their realistic creations with differential characters, which presents the abundance and complexity of the pattern of realistic aesthetics of "the Mingxing Films".ChapterⅤ,on the basis of summarizing the straits of the melodramatic aesthetics, this chapter selects and peruses Konggu Ian, Zimei hua and Malu tianshi, three of which are milestone masterpieces in three different times, in order to take a close look at the melodrama’s development path and pattern significance within the "the Mingxing Films".ChapterⅥ,based on the two intersections of the Mingxing Company and the urban cultural space in Shanghai:"The Garret" and the "Pidgin",the chapter discusses the group cultural particularities and modernity which arose from the spatial interweaving. This paper argues that the Mingxing Company’s reliance on its smart vision and enterprising spirit finally led to its breakup with the grassroots in China, which indicates the homogeneity with the fact that Chinese films of the same period were in the process of modernization from the "marginal" to the "center".The inclusiveness of various aesthetic styles, and the hybrid nature of cultural ecology between the new and the old as well as the Chinese and the West, both formed by the Mingxing Company, have very great case significance to the formation of the cultural appearances of Chinese films.The conclusion sums up the Mingxing Company’s position in the Chinese film history and its pioneering contributions, compared to three other companies including "Greater China Lily", "Tianyi" and "Lianhua".Then this paper provides reflections on the "Mingxing Mode"’s potential significance and enlightenment for the current development of cinema and culture in China.更多还原