李翰祥黄梅调电影中的多重世界探析

Exploring the Multiple World of Li Han-Hsiang's Huangmei Opera Films

黄梅调电影脱胎自传统黄梅戏,电影剧本选择和情节安排在内容和思想上与黄梅戏截然不同。李翰祥对黄梅调电影剧本的选择有明显的倾向性,造成其作品在思想情节上的连贯性,电影最终超越原有戏曲的框架而拥有更多个人印记。"身份变化"、"女性自残自杀"等情节的反复出现不仅是黄梅调作为类型片的一个特性,也是李翰祥在黄梅调电影中构筑其"多重世界"的重要手段,潜藏着他对于"人"与"社会"关系的多重思考。

Huangmei opera films derive from the traditional Huangmei Opera, but the screenplay selection and plot arrangement of the former differ distinctively from the latter in contents and ideas. Li Han-hsiang showed an obvious tendency in selecting the Huangmei Opera film scripts, the result of which is that the ideological plots in his works are coherent. Ultimately, his films go beyond the original framework of Huangmei Opera and have more of personal imprints. ＂Identity change＂, ＂female self-mutilation suicide＂ and other recurring episodes are not only features of Huangmei Opera as a genre film, but also the important means by which Li Han-hsiang built in his films the ＂multiple world＂, hiding his multiple thinking of the relationship between ＂people＂ and the ＂society ＂.