“死—生”仪式:谢晋电影语言与“现代化”  

“The Death-Life” Ritual:Xie Jin’s Film Language and “Modernization”

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

机构地区：[1]华东师范大学传播学院,上海200241

出　　处：《艺术百家》2024年第3期109-116,共8页Hundred Schools In Arts

摘　　要：在新中国电影中,英雄人物的死亡往往伴随着仪式化表达,谢晋的《红色娘子军》也是同样。在20世纪80年代,谢晋电影中死亡仪式的表达或不再使用,或被改造成了“死—生”仪式,即把情感的表达更多投向未来。谢晋电影语言在20世纪80年代发生的变化与彼时“电影语言现代化”的思潮不无关系,而这一思潮背后更有整个社会走向“现代化”的大背景,以及由此产生的对“谢晋电影模式”的批评。立足当下,我们可以看到,电影的仪式化表达应该是一种文化的产物,与观念意识形态的关系不大,谢晋在大变革的时代既顺应了“现代化”的要求,也坚持了传统的审美。In movies in New China,the death of a heroic figure is often accompanied by ritualized expression,as is the case with Xie Jin's The Red Detachment of Women.In the 1980s,the expression of death rituals in his movies was either no longer used or transformed into “death-life” rituals,which meant that emotional expression was directed more towards the future.The change of his movie language in the 1980s was not unrelated to the trend of “modernization of movie language” then,behind which was the overall context of the whole society moving towards “modernization”,as well as the criticism of “Xie Jin's movie style” arising from it.From our standpoint today,we can see that the ritualized expression in movies should be the product of a culture,which has little to do with ideology,and Xie Jin not only adapted to the requirements of “modernization”,but also adhered to traditional aesthetics in the era of great reforms.

关 键 词：电影 仪式 谢晋 谢晋电影模式 

分 类 号：J90[艺术—电影电视艺术]