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传统研究通常过于简单地认为早期共和国的政治文化语境单一、同质,突破这一成见,以注重多元冲突对意义形塑的新视角研究早期共和国电影史,是应该提倡的。本文具体着眼于赵树理的长篇小说《三里湾》以及根据这部小说改编的电影《花好月圆》(1958),依次分析摇摆的政策方针、电影工作者的多样背景以及政治运动中的权力重组怎样在冲突和矛盾中左右电影改编的过程和结果,并赋予作品变动不居的复杂意义。在个案分析的基础上,本文强调,文学史、电影史的书写应该将文艺作品理解为在历史中向多种力量开放的场域,而不是在单一理念中自足的、封闭的文本。对文本的细读需要与对政治文化语境的考察结合起来,才不会遮蔽作品意义的历史复杂性。
Traditional studies usually take the simplistic view that the political and cultural contexts of the early republics were single, homogeneous and breakthrough in this prejudice. It should be promoted to study the history of the early republics of movies with a focus on multiple perspectives and a new perspective on the shaping of meaning. This essay focuses on Zhao Shuli’s novel Sanliwan and the novel Huayuanyuyuan based on this novel (1958), analyzing in turn the policy of swinging, the diverse background of film workers and the restructuring of power in political movements in the conflict And the contradictions in the film adaptation process and the results, and give the work of changing the complex meaning. On the basis of case analysis, this article emphasizes that the writing of literary history and movie history should interpret literary works as a field open to multiple forces in history, rather than a self-sufficient and closed text in a single idea. The careful reading of the text needs to be combined with the investigation of the political and cultural contexts so as not to mask the historical complexity of the meaning of the work.