《春江遗恨》的是是非非与沦陷时期的中国电影

The Conflicts over Chun Jiang Yi Hen and the Chinese Cinema in the period of Occupation

完成于1944年底的《春江遗恨》也许是中国电影有史以来最具争议的影片,争议的焦点在于该片是不是中国电影。本文根据新近“发掘”的《春江遗恨》拷贝以及相关历史档案,从影片诞生的语境、影片所叙述的历史、影片的叙事策略、影片被接受的过程、以及影片在战后的影响等方面详细地分析了“争议”的根源。作者认为,《春江遗恨》在中国拍摄以中国为背景、由中国人编剧和导演、由中国明星主演、以汉语为主要语言、在中国发行、部分由中国投资,虽然是一部“附逆”作品,但仍然是一部中国电影。作者提出,不但应该承认该片在色彩斑斓的中国电影史上所占有的独特位置,甚至可以在“全球化”和“跨国”电影制作的语境下思考《春江遗恨》在中国电影史中的意义。

Chun Jiang Yi Hen, literally Hatred on the Spring River, completed at the end of 1944, perhaps is one of the most controversial films in the history of Chinese cinema and the focus of the debates is whether it is a Chinese film. This paper analyzes in details the generation of the “debates” according to the newly discovered copies of the film and the relevant historical data, including the context in which the film was produced, the history it tells, the narrative strategy it uses, the process through which it has been accepted, and the influences it has exerted after the war. The author believes that the fact that the production of the film, including the transcription by Chinese playwright, direction by Chinese directors, circulation and partial investment by Chinese investors, and most importantly, starring by the Chinese-speaking actors and actresses, indicates that it is no doubt a Chinese film. The author of this paper argues that we should not only give it a special space in the colorful history of Chinese cinema, but put it into serious consideration of its significant function in the history of Chinese cinema in the context of globalization and transnational film-making.