坚守与弥散——大众文化视阈中《小城之春》的身份书写与认同危机

Persistence and Dispersion:Identity Definition and Crisis of Springtime in a Small Town in the Mass Culture Context

在“谁在说”的视角转换中,田壮壮版《小城之春》对费穆版的当代改写,呈现出大众文化视阈下传统/现代/两难的观望者的三方会谈和格局变动。在很大程度上,导演田壮壮的影像改编可以看作是对没落中的传统文人身份的书写和坚守,但另一方面,面对着大众文化的审美语境,它在客观上又实践着精英/大众的缝合策略和游移立场,而这种无法彻底的缝合策略又事实上导致了精英和大众各自的对抗性阅读,从而使《小城之春》的翻拍成为意义模糊的文化事件,并最终导致了影像意欲实现的身份认同的深刻危机。这一电影事件的启示意义在于:电影作为一种文化,无论其声称“精英”或“大众”,其前提是对变动中的时代文化矛盾的诚实面对和积极对话。

With the change of narrative angle, Springtime in a Small Town, a reproduced film by Tian Zhuangzhuang, represents a different tripartite talk among tradition, modernity and intermediate forces from the original film produced by Fei Mu. Tian＇adaptation, to a large extent, can be seen as the persistence and definition of the identity of traditional elite and on the other hand, takes a bridging strategy and a wavering stand between the elite and the masses in the mass culture context, which unfortunately leads to a negative acceptance of both the elite and the masses and also to the identity crisis of the film. The inspiration derived from this film event is that a film, whether it is targeted at the elite or the masses, should honestly face and actively discuss the cultural conflicts in the transforming times.