未完成的“问题剧”:论小说《玉梨魂》的电影改编  

An Unfinished“Problem Play”:on the Film Adaptation of the Novel Yu-li-hun

作　　者：黎万峡 李冀 LI Wanxia;LI Ji(School of Liberal Arts,Nanjing University,Nanjing,Jiangsu 210023,China;College of Fine Arts,Xinjiang Normal University,Urumqi,Xinjiang 830054,China)

机构地区：[1]南京大学文学院,江苏南京210023 [2]新疆师范大学美术学院,新疆乌鲁木齐830054

出　　处：《贵州大学学报（艺术版）》2022年第1期69-76,共8页Journal of Guizhou University Art Edition

基　　金：2018年度国家社科基金艺术学重大项目“中国现代电影文学资料发掘、整理与资源库建设”(项目编号:18ZDA262)。

摘　　要：从民初时期一味言情的鸳鸯蝴蝶派小说,到五四之后关注社会的“问题剧”,电影《玉梨魂》试图继承五四问题剧的批判精神。然而,随着不同社会问题在电影中的凸显与隐没,本就含混的问题意识在与观众的互动中消解,“问题剧”终未完成。这是双重“问题”的显现,不仅出于创作者们前后不一的批判意识,也与彼时外强中干的创作环境相关。《玉梨魂》作为典型文本体现了过渡时代的矛盾情态,也具象了“新”与“旧”的再阐释。From the romantic novels in the school of Mandarin Ducks and Butterflies in the early Republic of China to the“problem plays”that focus on the society after the May 4th Movement,the film Yu-li-hun attempts to inherit the critical spirit of the problem plays during the May 4th Movement.However,with the emergences and disappearances of different social problems in the film,the inherently ambiguous problem consciousness is dispelled in the interaction with the audience,and the“problem play”remains unfinished.It is the embodiment of twin“problems”,which is not only out of the creators’inconsistent critical consciousness,but also related to the creative environment that was externally strong but internally weak at that time.As a typical text,Yu-li-hun embodies the paradox in the transitional era,and demonstrates the reinterpretation of“the new”and“the old”as well.

关 键 词：《玉梨魂》 小说改编电影 问题意识 鸳鸯蝴蝶派 问题剧 

分 类 号：J905[艺术—电影电视艺术]