直面灾景、重构山河和理想乡村:中国左翼电影环境景观的家国象征和隐喻  

Remolding the Ruined Mountains and Rivers and Reconstructing the Wonderful Countryside after the Natural Disasters:The Symbolic and Metaphoric Homeland in Chinese Left-wing Landscape of Film Environment

作　　者：罗阳 张慨 LUO Yang;ZHANG Kai

机构地区：[1]上海大学上海电影学院

出　　处：《电影理论研究（中英文）》2023年第1期27-34,共8页Journal of Film Studies

基　　金：国家社会科学基金艺术学重点项目“中国抗战时期艺术文献整理和研究”(项目批准号:20AA001)的阶段性研究成果。

摘　　要：早期中国电影以商业价值为标准,环境景观与叙事空间在电影艺术层面上无内在情感的链接。左翼电影人吸收苏联电影纪录片的拍摄手法,在影片中直接呈现天灾场景,改变了电影景观单一呈现模式;以外景中的荒漠、大路和群山隐喻山河破败中的不屈民族精神;以江南诗意乡村的审美建构反衬城市的畸形繁华和普遍贫困。左翼电影循着自觉追求之路,在画面本体呈现与故事推进中大量运用实景叙事与人造景观的结合,并运用意识形态内容中的机巧、实验和各种技术及理念对殇国之痛做出积极回应。In the early Chinese films,the making was oriented to the commercial value,there was no internal emotional link between environment landscape and narrative space with regard to the film art.The left-wing filmmakers used to adopt the shooting techniques of the Soviet Union documentaries and directly presented the scenes of natural disasters in the films,an act that transformed the single presentation mode of film landscape,in which the desert,the road and the mountains in the exterior scene signified the unyielding national spirit in the ruined mountains and rivers.The aesthetic construction of the poetic countryside in the Yangtze River Delta forms a striking contrast against the urban abnormal prosperity and universal poverty.With the self-conscious pursuit,the left-wing film makers extensively combined the authentic landscape with the artificial one in the noumenon presentation and the progression of the narrative,and took a positive attitude towards the ruined homeland by virtue of the ingenuity,experimentation and various technologies and concepts in the ideological realm.

关 键 词：左翼电影 环境景观 电影美术 艺术地理 象征与隐喻 

分 类 号：J905[艺术—电影电视艺术]