民族主义立场的激进表达和艺术的超常发挥——对联华影业公司1933年出品的《小玩意》的当下读解

Radical Expressions of Nationalism Standpoint and Extraordinary Exertion of Artistic Communication in Left Wing Films: A Contemporary Interpretation of Bauble Produced by Lianhua Film Corporation in 1933

孙瑜不仅是中国左翼电影的滥觞和开创者、最高代表人之一,而且,他和他的作品为20世纪30年代中国左翼电影在整体性质、表现模式和艺术风格上提供了典型性范本。民族经济实力的增强、反强权和抗日救亡理念的传播构成《小玩意》中激进的民族主义立场的主要来源。影片的前半部分带有浓重的旧市民电影模式痕迹,但随着人物性格与主演阮玲玉个性气质的合二为一,影片后半部分"母子相见"和"情人相见"两场戏的处理,是左翼电影强大的艺术感染力得以迸发的成功范例。

Sun Yu, as the forerunner of China’s Left Wing Films, offers, in his works, typical models for China’s 1930s Left Wing films in terms of general property, expressive modules and artistic styles. The strengthening of national economic force, anti-hegemony, and the prevalence of the sense of anti-Japanese and salvation of China constitute the major sources of the aggressive standpoints of nationalism in Bauble. The first half of the film has heavy traces of the old townspeople. However, with the integration of the personality of the character and the temperament of its role player, Ruan Lingyu, 'Son and Mother Encounter' and 'Lovers Encounter' in the latter half of the film are examples of success demonstrating the gust of artistic communication of Left Wing films.