试论费穆影像的民族化书写  

Fei Mu’s Image Writing:A Distinct National Style

作　　者：聂欣如[1] NIE Xinru(School of Communication,East China Normal University,Shanghai 200241,China)

机构地区：[1]华东师范大学传播学院,上海200241

出　　处：《上海大学学报（社会科学版）》2023年第4期41-53,共13页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社会科学基金艺术学项目(22BC051)。

摘　　要：费穆电影所表现出的民族风格,已经得到大家的认可。他的民族风格影像并非与生俱来的,他早期的电影作品如《天伦》《狼山喋血记》等,基本上用的都是西方的电影叙事技巧,如正反打、比喻、象征、并列镜头等等,他对西方电影语言的谙熟为当时国内的电影圈所公认。但是1940年在制作《孔夫子》的时候,费穆令人惊讶地摒弃了自己熟知的常用技法,如正反打、并列这些美国、苏联电影中最为经典的方法,将一些舞台戏剧的方法运用到电影对话的表现以及场景的叙事之中,力图创造出一种中国自己的影像书写方法,其勇气和意志令人折服。遗憾的是,该影片在票房上并不成功。及至1948年的《小城之春》,费穆才能够比较熟练地使用自创的表达方法来取代西方式的正反打。此外,他在近景和特写镜头的使用上保持了克制,终于将该影片打造成了中国电影民族化的典范之作。The national style in Fei Mu’s films has been widely recognized,however,it is not inherent.In most of Fei’s early films,such as Song of China and The Wolf Hill,he adopted Western film narrative skills like shot/reverse shot,metaphor,symbol,paralleling shots,etc,winning him a high domestic reputation for skillful western film languages.But to our surprise,in his film Confucius shot in 1940,Fei abandoned those classical skills most used in American and Soviet Union films that he was so familiar with,such as shot/reverse shot and paralleling shots.Instead,he adopted theatrical means to express film conversations and narratives in specific scenarios,in order to create a Chinese way of image writing.His courage and determination was impressive.Unfortunately,the film wasn’t a success.It was not until the shot of Spring in a Small Town in 1948 that Fei Mu became skilled in self-invented image expressions which took the place of the Western shot/reverse shot.In addition,his restraint in the application of close shot and close-up shot added to the success of the film,which became a masterpiece for the nationalization of Chinese films.

关 键 词：中国电影 费穆 影像 正反打 

分 类 号：J911[艺术—电影电视艺术]