抵抗性、先锋性与暧昧性——试论袁牧之新兴“通俗剧”电影  

Resistance, Avant-Garde and Ambiguity——On Yuan Muzhi’s Emerging “Melodrama” Film

作　　者：刘真真[1] Liu Zhenzhen

机构地区：[1]南京大学亚洲影视与传媒研究中心

出　　处：《戏剧（中央戏剧学院学报）》2023年第1期125-137,共13页Drama:The Journal of the Central Academy of Drama

基　　金：国家社科基金重大招标项目“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)阶段性成果。

摘　　要：戏剧艺术家袁牧之“由戏及影”后,其先锋性的视听实验使其电影不仅具有在都市各处随时随地建构抵抗性情境的强大能量,还实现了对都市现代性表现形式之一的“通俗剧”模式之辩证式超越。袁牧之身处的电通影片公司的民族电影工业背景与左翼倾向、上海都市文化中多重现代性之间富有张力的博弈关系、其先锋艺术家身份及新兴电影自身政治与美学上的双重暧昧,共同构成袁牧之新兴“通俗剧”电影的抵抗性、先锋性与暧昧性。After Yuan Muzhi turned from theater to film, his pioneering audiovisual innovation enabled him to create films that powerfully construct situations of resistance anytime and anywhere in the city, and to achieve a dialectical transcendence of the “melodrama” as one of the forms of expression of urban modernity as well. The resistance, avant-garde, and ambiguity of his emerging “melodrama” film are constituted through the tension among Yuan’s background in the national film industry in Diantong Film Company, left-wing tendencies, and the multiple discourses of Shanghai’s urban culture, along with the dual political and aesthetic ambiguity of the identity of the pioneering artist and the emerging cinema itself.

关 键 词：袁牧之 新兴电影 先锋性 通俗剧 电影美学 

分 类 号：J82[艺术—戏剧戏曲]