新时期谢晋通俗剧电影中的空间性与主体性

The Spatiality and Subjectivity in Xie Jin' s Film Melodrama of the New Period

通过对中国社会文化秩序中重要的象征区分在古典小说、戏剧、批评话语和通俗剧电影叙事中的具体体现以及这些象征区分和表述在社会主体构建中所起的重要作用进行探讨,我们可以对谢晋新时期通俗剧电影中观影主体的文本建构所涉及的中国社会结构中复杂的社会关系在一系列广受观众欢迎的电影文本中的空间置换、价值和意义转变进行深入的分析。通过社会文化和政治空间分析的方法来厘清谢晋新时期通俗剧叙事与中国传统通俗剧叙事范式和特定时代政治化通俗剧叙事范式之间复杂的互文关系,能使我们更好地理解谢晋新时期通俗剧电影在促进社会政治文化转型中所起的作用。论文重点分析了谢晋对以阴阳、虚实、二元对立结构为特点的中国叙事范式的运用,他对敏感的政治话题和个人政治身份问题的通俗剧式的表述和他运用镜头语言和场面调度对男女主人公社会关系和政治身份进行重新界定的政治意义和社会文化功能。这种政治身份的重新界定是在两种主导性通俗剧叙事范式之间基于伦理政治的复杂而又有限的话语空间中运作的。不同的文化和政治空间符码不仅为女性和其他社会弱势群体与主导性权力机构进行政治协商提供语义参照系和叙事表意模式,而且在调解社会矛盾、化解政治和意识形态危机、促进社会政治文化转型和构建新型观影主体方面均起到了重大作用。

By analyzing the textual embodiment of a set of symbolic divisions valorized by the Chinese patriarchal socio-cuhural order in classical Chinese fiction, drama, critical discourses and film melodrama and the ways in which these divisions contribute to the construction of a viewing subject implicated in the complex social relations that make up the Chinese social formation in spatial terms, we can gain new insights into the intertex- tuality of lie Jin~ film melodrama in terms of its relation to the traditional Chinese melodramatic paradigm and the political paradigm of the Mao period and the vital role it plays in the new period as a period of political and cultural transition. Focusing on lie Jin＇s deployment of a bipolar narrative pattern informed by the Chinese yin- yang cosmology that allows him to blend history with fiction and the socio-cultural and political function of his melodramatic treatment of touchy political issues and identity problems with recourse to specific mise-en-scene techniques and cinematic codes, the author argues that the significance of lie Jin＇s film melodrama which cen- ters on the definition and redefinition of the social and political status of the main characters within a highly linfited ethical and political discursive field lies in its function to provide women and other socially disadvan- taged social groups with a semantically complex reference framework and new modes of moral expressivity to ne- gotiate with the dominant forces in society and its capacity to mediate social contradictions and facilitate the construction of a collective subjectivity that promotes and affirms socio-cuhural transformation in the new period.