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夏衍电影中的父亲形象已超越了本身的功能与意义,成为一种文化身份与阶级秩序的象征。在政权更迭、革命浪潮波谲云诡的创作背景下,透过“父亲”这个具有指涉性话语的窗口,看出夏衍对以遵循封建家族伦理秩序为中心的家国同构模式的质疑,体会其在民族危机和家庭罹难之时,对家国同构思想重建的努力。而当他回首“历史之父”的沉重负荷,试图为新中国的美好图景加以影像化的诠释时,却遭受了一时的困境。
Xia Yan’s father’s image in the film has gone beyond its own function and meaning, becoming a symbol of cultural identity and class order. Through the window of referential discourse of “father” under the backdrop of the regime change and the tidal wave of revolutionary tide, we can see that Xia Yan is in favor of the family-isomorphism model that follows the feudal family ethical order Questioning and realizing its efforts to rebuild the ideology of the same country and family at the time of the national crisis and the death of the family. However, when he looked back on the heavy load of “the father of history” and tried to image the beautiful scenery of New China, he suffered a temporary dilemma.