论20世纪二三十年代中国电影与文学概念的互动及其复杂性  

The Complexity and Interaction Between the Concepts of Chinese Chinema and Literature in the 1920s-1930s

作　　者：王杰泓[1] 武晓旭 WANG Jie-hong;WU Xiao-xu(School of Art,Wuhan University,Wuhan 430072,China)

机构地区：[1]武汉大学艺术学院,湖北武汉430072

出　　处：《西北大学学报（哲学社会科学版）》2023年第1期199-208,共10页Journal of Northwest University：Philosophy and Social Sciences Edition

基　　金：国家社会科学基金项目“近现代中日艺术学术语互动与学科建构研究”(20BA017)。

摘　　要：20世纪二三十年代是中国社会的剧变期,也是作为学科基础的“电影”概念的形成期。作为姊妹学科文学的核心概念之一,“文学性”跨越学科、媒介疆界,参与到早期中国“电影”概念及相关理论建构中。电影与文学的百年互动,学界通常简化为线性时序下事件性的集合,注重作为新兴艺术的电影与文学的代际式差异,强调电影为寻求自身的独立性而与文学进行的渐进式的关系切割。简单将文学嵌入电影论题并不足以把握关键概念,借助跨媒介的“居间”视角、深入历史裂隙观照二者的互动十分必要。事实上,在文学试图统摄电影而电影又力图与文学剥离的相互角力过程中,以“电影的文学性”一语为焦点,“文学”“影戏”“文学性”“电影性”等新旧语义交叉、重叠于“电影”概念一身,并且潜隐着保守抑或进步等丰富的社会、政治与文化信息,体现出一种“不同时的同时性”。梳理与重审这一历史复杂性状况,有利于敞现一段动态、开放的“电影”概念史,或可为电影理论与历史研究提供一条新的进路。The 1920 s and 1930 s were a period of dramatic shift in China,and also a period of the formation of the concept of“cinema”as the foundation of the discipline.As one of the core concepts of sister discipline literature,“literariness”crosses disciplinary and media boundaries to conceptualize early Chinese“film”and related theoretical constructions.The century-long interaction between film and literature is normally reduced to a collection of events in a linear chronology,emphasizing the generational differences between film and literature as emerging arts,and the gradual cutting of the relationship between film and literature in search of self-discipline.Attempts to embed literature in the film thesis are insufficient to grasp the key concepts,and it is necessary to look at the interaction between the two through a cross-media“interstitial”perspective and deepness into the historical rift.In fact,in the mutual struggle between literature’s attempt to unify cinema and cinema’s attempt to divorce itself from literature,with the term“cinematic literacy”as the focal point,“literature”,“yingxi”,“literariness”and“cinematic features”are all in the same category.These terms above are intersected and overlapped in the concept of“cinema”,which concealed a rich social,political and cultural message of conservatism or progress.It reflects a kind of“Simultaneity of the Nonsimultaneous”(Gleichzeitigkeit des Ungleichzeitigen).Combing and re-examining this historical complexity are conducive to revealing a dynamic and open conceptual history of“cinema”,and may provide a fresh way forward for film theory and historical research.

关 键 词：电影概念史 文学性 电影性 跨媒介 复合单数 

分 类 号：J0[艺术—艺术理论]