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“天涯歌女”迄今已有六个版本,承继与演绎关系复杂。1927版最早,由欧阳予倩编导演,但未成功,只有电影插曲的意识和故事红线得到首肯。1937版不是电影,只是田汉为电影《马路天使》所做之插曲,但却因充分彰显“天涯歌女”的符号所指与转喻而大获成功。1940版虽由周璇主演,但违逆受众之审美期待,因“客彰”而弄巧成拙。嗣后,周璇的悲剧人生使“天涯歌女”这一符号的文本间性增添了纷繁博杂的“世界性”。1989版因陈松伶之“孱挑”而再度折戟,影视界公认此题之险,其叙事学范式渐成经典。1995版最成功,皆因深谙受众心理学,“天涯歌女”遂晋升为电影母题。2008版着眼于周璇的成名史,迎合当下芸芸粉丝,以娱乐性和低俗性哗众取宠,致这一母题的社会批判锋芒丧失殆尽。六个版本的“天涯歌女”在作者与读者、作品与受众、艺术与世界的二元互动中,在戏里戏外,在看与被看、可见与不可见的移情与换位中,效果循环,视域融合,终致此符码在中国电影史上经典化。
“End of the World song girl ” So far, there are six versions, inheritance and interpretation of the complex relationship. The earliest version of 1927, directed by Ouyang Yuqian, but unsuccessful, only the episode of the movie’s awareness and story of the red line has been approved. 1937 version is not a movie, just Tian Han for the movie “road angel” made by the episode, but due to fully demonstrate “End of the World song woman ” symbol and metonymy and success. Although the 1940 version starring Zhou Xuan, but contrary to the aesthetic expectations of the audience, due to “off” and self-defeating. Subsequently, the tragic life of Zhou Xuan added a rich and varied “cosmopolitanity” to the inter-textuality of the symbolic song “End of the World Song and Woman.” 1989 version because of Chen Song Ling’s “pick” and once again halved, the film industry recognized the danger of this issue, the narrative paradigm gradually become a classic. 1995 version of the most successful, all because of deep understanding of psychology of audience, “End of the World song girl ” was promoted to a movie motif. The 2008 edition looks at Zhou Hsuan’s fame history to cater to the current fan base, entertaining and vulgarity grandstanding, resulting in the social criticism of this motto lost. The six versions of “End of the World Song and Dance Girl” look and see, visible and invisible empathy and transposition in the dual interaction between author and reader, work and audience, art and the world In the cycle of effect, the fusion of the horizon, eventually resulting in the classic code in the history of Chinese film.