【作者】 宋泽双；

【导师】 余纪； 刘宇清；

【作者基本信息】 西南大学 ， 电影学， 2010， 硕士

【摘要】 中国电影100年的历史上,曾经有一座繁荣的电影城市,有一群赤诚的电影作者,奉献过无数经典的电影作品,缔造了一个伟大的电影传统……,他们都与上海相关,甚至可以上海命名。也许,还有许多资深的影迷能够如数家珍地道出那些作者、那些影片的名字,但是曾经的辉煌,毕竟已经成为无声的历史。历史不会自动说话,我们只有通过那些幸存的影片、散落的文字,才能真正感受艺术作品恒久的魅力,倾听艺术家炽烈的心跳,虚心善待那份遗产。吴永刚在那座城市生活了近60年,拍摄了35部电影作品,是那个伟大的电影传统的重要代表。他跨越不同的时代,在社会激变的风浪中与电影并肩,与历史同行,并以其旨趣独特的作品序列和狷介刚直的人格精神,成为世人称道的艺术家。“终我身于电影事业”,是吴永刚一生的誓言与写照。从1925年为了电影而独闯上海,到1982年为了电影而弦断曲终,吴永刚的生命历程就像一个梦、一出戏,龙套、亮相、转身、圆场、走板、独白、压轴,婉转曲折,令人荡气回肠。斯人已逝,有些记忆模糊了,有些记忆断裂了,有些事实被遮蔽了,有些思想被扭曲了。论文第一章“细述沧桑话流年”,沿时追溯吴永刚的创作历程,重读作品,重聆箴言,透过作品与人生的密切关系,重温那段辛苦恣睢、波澜壮阔的历史。吴永刚是一位杰出的电影艺术家,但他更是一个完整的、大写的人。论文第二、三、四章分别论述吴永刚的艺术作品与风格、艺术视野与胸怀、人生理想与社会抱负。就艺术风格而言,吴永刚的作品总能通过绘影、叙事、写意、传情四个层次,达到“刚柔相会气均匀”的境界：就艺术眼界与胸怀而言,吴永刚未必比某些理论家深刻,但他肯定更开放,更清醒,更务实,比如,他主张“拿来主义”,坚持政论不能代替艺术、作品商品应取中庸之道等等,真正做到“兼收并蓄成一家”；吴永刚成长在新文化运动风起云涌的年代,但他骨子里依然是一个传统的中国人。“新”与“旧”在他身上不是一对矛盾,而是一种组合。在个体人格与社会理想之间,吴永刚终其一生都在做着“和而不同”的“大同梦”。本文不敢妄称对吴老及其作品的深入研究,更遑论为大师树碑立传(尽管有此野心)。赤子之心长不泯!笔者唯愿怀着一颗景仰、坦诚的心,与吴老进行一次跨越时空的心灵对话。更多还原

【Abstract】 During the 100-year history of Chinese cinema, there has been a city where Chinese cinema burgeoned and boomed; there has been a fabulous number of movie artists purely interested in and thus wholly dedicated to cinema, and hence created by them, there has been numerous classic films, contributing to establish a great cinema tradition.... All of them, however, are all related to Shanghai city to such a degree that they can be entitled under it. Maybe today only those veteran movie fans can speak out their names one by one as if enumerating their family valuables. Glorious as they were, they have become silent history now and we can only resort to those scattering words and films fortunately existed to listen to their heartbeat of passion, to feel the eternal glamour of their works, and humbly, to cherish this heritage.Wu Yonggang has stayed in this city for nearly 6 decades, created 35 movies, and therefore established for himself a vital role in that great cinema tradition as one of its key representatives. He, traversing different times and experiencing dramatic social changes, finally matured to be a publicly respected movie artist with exceptional works and unique style.As his words, "dedicating my whole life to cinema", he went to Shanghai in 1925 to strive for a career of movie till 1982, the year of his death. His life is just like a dream, a movie and a Peking Opera:playing a small role, getting stage pose, turning, running in circle, being out of tune, giving monologue, performing the most important part, which are indirect, engaging, attractive and inspiring.28 years has past since his death, some memories have been blurred, some forgotten, some facts veiled, some ideas twisted and misunderstood. Chapter 1 of the thesis is a reread of his works and a relisting his proverbs according to time sequence, a recalling of that history full of tremendous hardships and enormous fluctuation via interpreting the close relationship between his life and his works. Not only is Wu Yonggang an excellent movie artist, he is also a complete and great person. Chapter 2,3, and 4 of the thesis are separately distributed to conduct an analysis on his artistic style, artistic view and vision, life aspiration and ambition. Referring to his artistic style, he is always capable of, via image, narration, emotion expression, achieving the most admirable level that "hardness and softness are balanced". As for his artistic view and vision, even though he is not necessarily more profound than some theorists, he is definitely opener, soberer, and more practical. For instance, he advocates "take-in principle", holds that political argument can not substitute for arts and that artistic works as product of commodity should neither be exaggerated nor completely rejected, etc, all of which testifies his open-mindedness to artistic difference. Wu Yonggang grows up in the era when the New Culture Movement was vigorous. However, he is still a complete traditional Chinese. For him, "tradition" and "new ideas" are well-balanced combination rather than conflicting paradox. He, both for himself as an individual and for the society as a whole, permanently holds and protects the dream of "harmony but not conformity".The thesis is far from a deep probe into Mr. Wu and his works, not to mention to glorify him by singing his praises (Even though he deserves it and I have this ambition). Pure heart lasts for ever! The writer of the thesis, with honesty, great respect and admire, just aims at establishing a heart-to-heart communication with Mr. Wu that traverses space and time.更多还原