电影《春蚕》:左翼文学与国产电影市场的结晶

Silk Worm——A Fusion of Left-wing Literature and the Market of Native Films in 1933

1930年代初期,日益动荡的国内外局势直接导致了盛行于1920年代旧市民电影的衰败,由知识阶层和青年学生为主的新观众群体的涌现和竞争对手联华影业公司的新电影制作方针,迫使以旧市民电影起家的明星影片公司采取与左翼文艺合作的制片路线,以图换取市场生存空间,这就是改编左翼文学代表作之一的短篇小说《春蚕》的背景。《春蚕》虽然出现在左翼电影高产之年,但其思想力度和艺术特征决定了它只能属于早期左翼电影,而不是完全意义上的左翼电影或曰经典左翼电影;影片政治经济学和意识形态的图解占据和挤压了原先就很逼仄的艺术叙事空间;小说《春蚕》最大的艺术贡献就是塑造了荷花这个"女二流子"形象,但影片没能将她进一步丰满、开掘。然而,恰恰就是从电影《春蚕》开始,明星影片公司借助左翼电影的诸多思想和艺术元素,开拓出一条新市民电影的制作新路线。因此,电影《春蚕》既是解读1933年左翼文学与电影内在关联的范例,又是"明星"公司在"左翼电影年"内制片路线改变后一个可供读解的标本。

In the early of 1930s,the growing unrest at home and abroad directly led to the decline of old citizen film which had prevailed in 1920s.The audience composed of intellectuals and young students,with a new film production line in Lianhua Film Company forced Star Film Company to cooperate with left-wing literary,in order to secure a film market.This is the background of film Silk Worm,which adapted from the same name left-wing literary masterpiece.Even though Silk Worm produced in the harvest year of left-wing films,its ideological and artistic features determine it only belonged to the early state of left-wing films,rather than a classical left-wing film.The political economics and ideology reflected in the film make the narrow narrative space smaller.The greatest contribution to art from novel Silk Worm is the image of He Hua who is a teddy girl,however,the film failed to enrich the character.It is from the film Silk Worm that Star Film Company created a new line of producing new citizen films by absorbing many ideas and art elements from left-wing films.Therefore,Silk Worm is not only an illustration for understanding the correlation between 1933 Chinese left-wing literature and films,but also an example showing changed film production line of Star Film Company in left-wing Film Year.