声音的政治、美学与“时-空性”:方言电影的发展及其情感传导机制  

The Politics,Aesthetics,and Space-time of Sound:The Development of Chinese Dialect Cinema and Its Emotional Mechanism

作　　者：胡亦名 姚权 HU Yiming;YAO Quan(Hujiang College,University of Shanghai for Science and Technology,Shanghai 200093;School of Foreign Studies,Tongji University,Shanghai 200092)

机构地区：[1]上海理工大学沪江学院,上海200093 [2]同济大学外国语学院,上海200092

出　　处：《文化艺术研究》2025年第1期40-47,113,共9页Studies in Culture and Art

基　　金：上海市哲学社会科学规划课题青年项目“日韩中小学教科书中的世界图景和中国形象”(项目编号:2022EXW003)的阶段性成果。

摘　　要：百年中国有声电影发展史,其实同时也是一部方言电影的实践与论争史,只不过在不同的历史条件下,分别呈现出声音身份、声音气氛、声音情感上的不同倾向。早期方言电影首先表现为声音政治上“电影市场/语言市场:共同语/方言”的双重纠葛;从重大题材电影到以《秋菊打官司》为代表的新时期方言电影,更多地呈现气氛美学上“装饰性/语境性:权力标志/风格追求”的观念变化;以《繁花》为代表的方言电影/电视则出现了在“声音情感”上“过去/未来:时间/空间”交汇的情动美学,这就是:超越视觉绝对主导的传统模式,通过赋予声音这一“时间的身体”核心叙事地位,在“电影时间”与“观影时间”的对立和互文中折叠时间,造就不同个体在“过去”“未来”和“当下”情感激荡的“内时间”体验。The development of Chinese sound film over the past century has,in many ways,been a history of dialect cinema's practices and controversies.Under different historical conditions,it has seen various trends in sound identity,sound atmosphere,and sound emotion.Early Chinese dialect films focused primarily on sound politics,marked by the struggle between"film market/language market:common language/dialect".Later,from the films with grand themes to the new era of dialect cinema,exemplified by The Story of Qiu Ju(1992),the emphasis shifted to the aesthetic of atmosphere,showcasing conceptual changes like"decorative/contextual:power/style".Today,dialect film and television,as seen in Blossoms Shanghai(2023),emerge with sound emotion—an aesthetic of affect encompassing the"past/future:time/space".It transcends the traditional visual model by positioning sound as the core narrative element—“the body of time”—and explores the opposition and intertextuality of film time and viewing time,generating an emotional experience of"inner time"between past,present,and future.

关 键 词：方言电影 声音政治 声音气氛 声音情感 “电影时间” “观影时间” “内时间” 

分 类 号：J901[艺术—电影电视艺术]