家国谜韵下的心声疑影:战后华语电影中的“希区柯克幽灵”  

The"Hitchcock Spirit"in Postwar Chinese Language Films

作　　者：王培雷 WANG Pei-lei(Dandis Wong)(School of Arts and Media,Xianda College of Economics and Humanities,Shanghai International Studies University,Shanghai 200216,China)

机构地区：[1]上海外国语大学贤达经济人文学院艺术与传媒学院,上海200216

出　　处：《海南师范大学学报（社会科学版）》2024年第2期25-32,共8页Journal of Hainan Normal University(Social Sciences)

基　　金：国家社会科学基金艺术学项目“身体影像溯源论京剧对当代动作电影的美学影响”(20CC169)。

摘　　要：1948年由位于北京城的“中电三厂”出品的电影《深闺疑云》,直接回应了在抗战期间上海曾经上映过的希区柯克导演的作品《深闺疑云》(Suspicion),在剧本人物权力关系的置换中完成了因应战乱时代的集体焦虑表达,同1950至60年代由中国香港生产、改编自希区柯克作品《后窗》《迷魂记》的粤语电影《后窗》《回魂夜》一起,组成了一条清晰的华语电影“借桥”希区柯克的脉络。徐昌霖版《深闺疑云》、中国香港版《后窗》和《回魂夜》等三部电影虽然都不曾明确宣布对西片原作的借重,但不约而同步地走上了一条与传统意义上的中国侦探电影或“含有侦探内容”的电影截然不同的“心探”路径。这三部侦探电影作品不仅承继了相关类型的商业特征,更在顺势应时的具体改编中回应了20世纪中期中国内地与中国香港变动不居的社会政治经济格局,形成了“仿作者以言志”或“解构作者以言志”的独特电影创作兴味。同时,这些影片中叙事策略的“伦理化”倾向,直接导致了对希区柯克电影之于好莱坞工业“解构性”的再度解构,形成了既符合不同时代的华语电影主流受众的认同,同时亦体现创作者自身的“电影本体”探索的电影文本转译特点。The film Suspicion,produced by the No.3 CLP Film Studio in Peking in 1948,was a direct response to Hitchcock's Suspicion,which had been released in Shanghai during the Anti-Japanese War,and completed the expression of collective anxiety in response to the war era through the transformation of the power relations of the characters in the script.Along with the Cantonese films The Rear Window and The Night of the Spirit's Return produced in Hong Kong,China in the 1950s and 1960s and adapted from Hitchcock's films The Rear Window and Vertigo,they have together formed a clear thread of Chinese films borowing ideas or concepts from Hitchcock's works.The three films,including Xu Changlin's version of Suspicion,Hong Kong's version of The Rear Window and The Night of the Spirit's Return,though without any explicit announcement of their reliance on or borrowing from the original Western films,they have coincidentally embarked on a completely different"detective"path from traditional Chinese detective films or films with detective contents.These three detective films have not only inherited the commercial characteristics of related genres,but also responded to the changing social,political and economic landscape of the Chinese mainland and Hong Kong in the mid-20^(th) century through specific adaptations geared to the specific situation,thereby having formed the concept of the unique interest in film creation of"imitating the author to express ambitions"or"deconstructing the author to express ambitions".At the same time,the"ethical"tendency of narrative strategies in these films has directly led to the re-deconstruction of the"deconstructive nature"of Hitchcock's films in the Hollywood industry,thus constituting a film text translation feature that not only conforms to the mainstream audience of Chinese language films in different eras,but also reflects the creator's own exploration of the"film itself".

关 键 词：华语电影 希区柯克 空间建构 悬念 伦理剧 

分 类 号：J905[艺术—电影电视艺术]