从情节剧到文艺片:20世纪50年代香港粤语片的中国化改编  

From Melodrama to Literary Film:Sinicized Adaptation of Hong Kong Cantonese Film in the 1950s

作　　者：易莲媛 YI Lianyuan(School of Journalism&Communication,Guangzhou University,Guangzhou,Guangdong 510006,China)

机构地区：[1]广州大学新闻与传播学院,广东广州510006

出　　处：《广州大学学报（社会科学版）》2020年第3期122-128,共7页Journal of Guangzhou University:Social Science Edition

基　　金：广东省哲学社会科学规划项目(GD19CYS10)。

摘　　要：20世纪50年代中期,香港出现了一批与当时高度商业化、地方化的主流电影有较大差异的、改编自世界文学的粤语片。相对于其文学原著,这些影片更多参照的是好莱坞、上海或其他电影工业的改编版本。在这个本土化过程中,发挥了重要作用的是中国电影自20世纪20年代以来的“文艺片”类型规范,其中包括对社会进步、改良的追求;着重表现新旧交替、冲突中以爱情和伦理亲情为代表的社会性情感并希望能以情感调和矛盾;对以粤剧为代表的中国民间文化的故事模式和美学取向的偏好。尽管随着香港社会的发展,这一类影片很快就陷入了衰落,但它们核心的类型特质在随后的古典粤剧戏曲片中得到了传承。In the Mid-1950s,there appeared in Hong Kong a group of Cantonese films adapted from world literature that were quite different from the highly commercialized and localized mainstream movies of that time.These films were based more on adaptions of Hollywood,Shanghai or other film industry than on the original texts.In this localization,the genre of Chinese Literary Film played an important role in the following:the pursuit of social progress and improvement,the emphasis on the expression of the social emotion represented by romantic love and ethical affection in the conflict,the hope of reconciling contradiction with emotion,as well as preference for the story pattern and aesthetic orientation of Chinese folk culture represented by Cantonese opera.Although the genre quickly fell into decline with the development of Hong Kong society,its core genre characteristics were preserved in classical Cantonese opera films.

关 键 词：香港粤语片 改编 情节剧 文艺片 中国电影 

分 类 号：J902[艺术—电影电视艺术]