《烟花女儿翻身记》是有关新中国成立后北京市政府取缔妓院和改造妓女的纪录影片,影片与同一时期制作完成的故事片《姊姊妹妹站起来》形成颇具意味的对应关系。两部电影的现代性特征及其文化意义均通过文本内外的妓女形象与表演行为得以展现。其中肢体、面容、声音等多个层次上的女性表演,以及创伤、规训、身份等多个文化议题,因应并配合新中国城市中开展的社会改造运动和思想改造运动。在这两部影片的叙事脉络中,妓女是旧中国受压迫女性的缩影,她们因新政权的建立而转变为被解救和教育的对象,通过教育与改造活动被塑造为新中国意义上的“新女性”。而影片内与外的妓女/学员的表演,是新中国成立之初城市政治生活和社会运动的集中体现,也呈现为教育、规训和身份重建的手段。两部影片在一定程度上吸收和延续20世纪30年代中国电影塑造的“新女性”形象,并使之对应于新的意识形态要求。 “The daughter of the fireworks turning over” is a documentary film about the banning of brothels and the reform of prostitutes by the Beijing municipal government after the founding of People’s Republic of China. The film forms a quite meaningful correspondence with the feature film “Sister and Sister Standing Up” which was completed in the same period. The modernity and cultural significance of the two films are demonstrated through the image and performance of prostitutes both inside and outside the text. In addition, women’s performances at multiple levels such as limbs, facial expressions and voices, as well as various cultural issues such as trauma, discipline and identity have been formulated in response to and in conjunction with the social reform movement and ideological reform movement in the new Chinese cities. In the narrative context of these two films, prostitutes are the epitome of the oppressed women in old China. Because of the establishment of the new political power, prostitutes have been transformed into the object of being rescued and educated. Through prostitution and reform activities, prostitutes have been shaped into the new China “New female”. The performance of prostitutes / students both inside and outside the film is the embodiment of urban political life and social movement at the beginning of the founding of new China. It also presents a means of education, discipline and identity reconstruction. To a certain extent, the two films absorb and renew the image of “new women” created by Chinese films in the 1930s and make them correspond to the new ideological requirements.