新旧电影中女主人公的道德站位——兼析1934年的国粹电影《归来》  

The Moral Position of the Heroine in the New and Old Films:An Analysis of the Classic Chinese Film Return

作　　者：袁庆丰[1] 

机构地区：[1]中国传媒大学文化产业管理学院,北京100024

出　　处：《学术界》2019年第3期133-141,共9页Academics

摘　　要：主题和题材局限于家庭伦理、婚姻恋爱以及武侠神怪的旧市民电影,女主人公多有道德瑕疵甚至性别原罪,或者身处道德低位。左翼电影中的女主人公几乎全部出身于社会底层,即便是成为性工作者,也是品德高尚,大则忧国忧民、心系国家民族,小则鄙视金钱名利、无私奉献,无不带有鲜明的阶级性指向或曰革命性的道德光辉。有条件地抽取借助左翼电影思想元素的新市民电影,其女主人公更多的是体现超阶级性的人性情怀和更符合新时代潮流的道德情操。《归来》之所以是国粹电影,看上去讲的是作为原配的女主人公回归妻子、慈母原有的道德高位,实际上是编导在中西文化碰撞中,在传统文化背景下,面对严酷现实,对家庭宗法伦理的道德强调、给出的价值理念指南。The themes and genres of the old mainstream films are confined to family ethics,marriage and love,as well as martial arts and the magic,in which most heroines are morally flawed. Almost all the heroines in the old left-wing films are from the bottom of the society who are of noble moral character. They are not only concerned about the people and the nation,but also despise money,fame and wealth. All of them have distinct class orientation or revolutionary moral glory. However,in new citizen films,extracting ideological elements from left-wing film,the heroines embody more human nature beyond class and moral sentiment in line with the trend of the new era. The reason why Return becomes a classic is that the heroine,as the first wife,returns to the original high moral position as a wife and a mother. In fact,it is a moral guide emphasizing family ethicsin the face of harsh reality,in the context of the traditional Chinese culture,in the collision of Chinese and Western cultures.

关 键 词：道德站位 旧市民电影 左翼电影 新市民电影 国粹电影 朱石麟 

分 类 号：J905[艺术—电影电视艺术]