论洪深左翼电影剧作中的家国情怀与诗意现实主义——兼论中国左翼电影的现实主义问题  

Family and National Feelings and Poetic Realism in Hongshen's Left-wing Film Plays:Realism of Chinese Left-wing Films

作　　者：李亚 欧孟宏[1] LI Ya;OU Meng-hong(School of Arts,Wuhan University,Wuhan 430072,Hubei,China)

机构地区：[1]武汉大学艺术学院,武汉430072

出　　处：《武汉理工大学学报（社会科学版）》2024年第1期115-124,共10页Journal of Wuhan University of Technology:Social Sciences Edition

基　　金：2019年教育部人文社科规划基金项目“早期欧洲电影在中国的传播与接受研究(1923-1949)”(19YJA760045)。

摘　　要：洪深左翼时期的电影剧作实现了由家庭伦理向国家民族情怀的转变,其表述方式采用了诗意现实主义,文本上呈现出一幅山河破碎、家庭兴衰、人事沧桑的变幻图景,隐含着对新时代主体力量的呼喊与期待。由洪深左翼电影剧作中的诗意现实主义可以自然延伸到左翼电影中的现实主义问题。而中国左翼电影中的现实主义不但与同时期好莱坞电影以及欧洲电影中的现实主义存在着巨大差异,而且它与左翼电影剧作中的现实主义亦非同一所指。即便同为左翼剧作家,其剧作中的现实主义风格也存在较大差异。由此出发,我们可以进一步对1930年代中国左翼电影中的现实主义问题加以检视。The film plays of Hong Shen's Left-wing period had achieved a transformation from family ethics to national and ethnic sentiments.Their expression adopts poetic realism,and the text presents a changing scene of broken mountains and rivers,family rise and fall,and personnel vicissitudes,implying a call and expectation for the main force of the new era.The poetic realism in Hong Shen's left-wing film plays can naturally extend to the issue of realism in left-wing films.The realism in Chinese left-wing films not only differs greatly from the realism in contemporary Hollywood and European films,but also differs from the realism in left-wing film plays.Even as left-wing playwrights,there are significant differences in the realism style in their plays.Starting from this,we can examine further the realism issues in Chinese left-wing films in 1930s.

关 键 词：洪深 左翼电影剧作 家国情怀 诗意现实主义 民族主义 

分 类 号：I235.1[文学—中国文学] J909.8[艺术—电影电视艺术]