“邵氏”黄梅调电影的叙事伦理  

Narrative Ethics of Shao’s Huangmei Opera Films

作　　者：蔡河明 CAI Heming(School of Literature and Communication,Huainan Normal University,Huainan 232038,Anhui)

机构地区：[1]淮南师范学院文学与传播学院,安徽淮南232038

出　　处：《阜阳师范大学学报（社会科学版）》2023年第1期127-133,共7页Journal of Fuyang Normal University：Social Science

基　　金：淮南师范学院人文社科校级重点项目“邵氏黄梅调电影的文化想象和类型话语”(2022XJZD016)。

摘　　要：“邵氏”黄梅调电影是上世纪50年代香港地区影坛重要的电影现象,因为其借鉴内地的地方戏黄梅调而显得独特。黄梅调电影的形成有其特殊的历史伦理语境,本文主要从伦理批评的角度对其进行论析。研究发现,整个电影文本呈现出官方道德的集体伦理、民间道德的集体伦理以及女性主体的个体伦理的杂糅状况。黄梅调电影能成为一种独特的电影现象,风靡于港台、祖国内地是与这种内在的伦理机制暗合观众的观影期待密不可分的。Shao’s Huangmei Opera is an important and unique film phenomenon in Hong Kong film industry in the 1950s because it draws on the local Huangmei Opera in the mainland.This paper mainly analyzes Huangmei Opera movies from the perspective of ethical criticism.The formation of Huangmei Opera movies has its special historical ethical context.The whole film text presents a mixture of the collective ethics of official morality,the collective ethics of folk morality and the individual ethics of female subjects.Huangmei Opera film can become a unique film phenomenon,and its popularity in the three regions across the Taiwan Straits is inseparable from the audience’s expectation of watching films,which is closely related to this internal ethical mechanism.

关 键 词：黄梅调电影 叙事伦理 集体伦理 个体伦理 

分 类 号：J905[艺术—电影电视艺术]