“花叶之辩”:1933年左翼电影批评的一个侧面  

"The Debate of Flowers and Leaves":A Facet of Left-Wing Film Criticism in 1933

作　　者：闫凯 Yan Kai

机构地区：[1]南京大学中国新文学研究中心

出　　处：《戏剧与影视评论》2024年第1期51-58,共8页Stage and Screen Reviews

基　　金：国家社科基金重大招标项目“中国现代电影文学资料发掘、整理与资源库建设”(批准号:18ZDA262)阶段性成果。

摘　　要：洪深在1933年的复出之作《铁板红泪录》一经上映,便得到了毁誉参半的不同评价。因“红泪”多而“铁板”少,左翼电影批评界对其也不无指摘,并由此延伸出一场对电影的“花”(主题)与“叶”(趣味性)如何权衡的问题的辩论。这场辩论不仅揭示了左翼电影所面临的“趣味性”困境,也反映了左翼电影批评界对“新内容”与“新形式”的关系由“主次关系”到“相辅相成”的态度转向,体现了左翼电影批评内部的自我反思。Hong Shen's 1933 comeback film Love and Tears of Tenant received mixed reviews upon its release.The Left-wing film critics were not without criticism because there were more descriptions of"Love and Tears"than"Tenant",and this led to a debate on how to weigh the"flower"(theme)and"leaf"(interestingness)of a movie.This debate not only reveals the dilemma of"interestingness"faced by Left-wing films,but also reflects the Left-wing film critics'view on the relationship between"new content"and"new form"from"primary and secondary relationships"to"complementary relationship",which reflects the self-reflection within the Left-wing film criticism.

关 键 词：花与叶 左翼电影批评 《铁板红泪录》 洪深 

分 类 号：J905[艺术—电影电视艺术]