跨媒介视域下经典社会主义电影及重构的民族性——以《刘三姐》的风景与声景为中心

Classical Socialist Films and Its Reconstruction of Chinese Nationality from the Perspective of Intermediality:A Case Study on the Landscape and Soundscape of Sanjie Liu

跨媒介研究的视角将电影置于其与绘画、摄影、文学、戏剧、戏曲等媒介的交互关系间乃至电影媒介内部的声音与图像的互动中,在传统的政治—艺术互动和电影作为纯媒介的内生发展两种研究范式之外试图开拓出新的路径。本文以经典社会主义电影《刘三姐》为例,探究影片中的电影山水及其文化内涵是如何在中国画、摄影、画报等媒介间的竞争、转换和再造的过程中被置换和重新确立的;本文对声景的分析则更多是从电影媒介内部声画间的跨媒介性入手,声音在《刘三姐》中不仅统摄叙事,还在形式上联结起电影的有机体。善歌的刘三姐形象复刻与改写了中国电影史中歌女的形象谱系和歌声的运行机制。

The perspective of intermedial studies places film medium in the interactive rclationships with other media,such as painting,photography,literature,and drama.It also studies film from the interaction between sound and image within the film.Thus,it develops a new research path beyond the conventional research paradigm of political-art interaction and that of the endogenous development of film as a pure media.Focus on the audio-visual aspects of the film Sanjie Liu,this article explores how the cultural connotations of Chinese traditional landscape are replaced and how the socialist spirituality of landscape is established in the process of the film medium's competition,transformation and reconstruction with Chinese painting,photography,pictorial and other media.In terms of soundscape,this article delves into the intermedial relationship between sound and image within the film,arguing that sound not only dominates the narrative,but also synthesizes different parts of the film into an organic integrity.The characterization of Liu Sanjie reproduces and rewrites the image pedigree of songstress and the operation mechanism of singing in the history of Chinese film.