从战后流浪儿到无产阶级新儿童:《三毛流浪记》(1949)与国共易帜下左翼电影的政治表述  

From the Postwar Waif to the Proletarian New Child:The Wandering Life of Sanmao(1949)and the Political Expression of the Left-wing Films during the KMT-CCP Civil War

作　　者：陈莹 Chen Ying

机构地区：[1]中共福建省委党校社会与文化学教研部

出　　处：《戏剧与影视评论》2024年第2期43-57,共15页Stage and Screen Reviews

基　　金：国家社科基金青年项目“中国国民党意识形态建构视域下的民国时期儿童电影研究(1918一1949)”(批准号:21CZS047)阶段性成果。

摘　　要：由昆仑影业公司摄制的左翼电影《三毛流浪记》(1949)是国共政权鼎革之际,以流浪儿故事讽刺国民党政权、响应中国共产党新政权的政治表述。现有研究较少通过漫画原作和电影文本的比较、细读,剖析电影的政治话语、儿童形象以及观众对儿童电影的接受等。该片巧妙地将国共两党夺取权力的政治问题转化为声张儿童权益的普世性表达,以拒绝三毛和欢迎三毛展现两党的政治理念。三毛从惹人怜爱、作风滑稽的战后流浪儿,转变为具有抗争品质的无产阶级新儿童,塑造了新中国首个基于中国共产党儿童观的典范儿童形象。The left-wing film The Wandering Life of Sanmao(1949),produced by Kunlun Studio during the KMT-CCP civil war,is a political expression of satirizing the Kuomintang regime and responding to the new regime of the Chinese Communist Party.The recent studies rarely compare the comic strips and the film text of The Wan-dering Life of Sanmao to analyse the filmic political discourse,children's images and the audience's receptions to the child protagonist.This film strategically transforms the political issue of the KMT-CCP seizing power into a uni-versal expression of children's rights,in which rejecting Sanmao and welcoming Sanmao show the political ideas of the two parties.In this way,Sanmao has transformed from a tendering and funny postwar waif to a strongly resistant proletarian new child,thus shaping the first model child based on the view of children in accord with the CCP in the SocialistChina.

关 键 词：三毛流浪记 左翼电影 儿童电影 儿童观 中国共产党 

分 类 号：J905[艺术—电影电视艺术]