王苹与中国社会主义女性电影——主流女性主义文化、多维主体实践和互嵌性作者身份

Wang Ping and Socialist Chinese Women's Cinema:Mainstream Feminist Culture,Multifaceted Practice,and Embedded Authorship

这篇文章主要研究社会主义中国第一位女导演王苹和她的主流代表作品《柳堡的故事》(1956),重新定义女性作者概念并着力质疑和批判现存女性主义电影理论和中国电影研究中两个重要结论:女性电影是个体边缘实践并自然具有颠覆性;社会主义电影是铁板一块的政治宣传品,没有艺术价值。具体地说,这篇文章首先勾勒对中国现代女性电影起着至关重要作用的早期社会主义女性主义公共/官方空间的形成;然后通过梳理多重历史背景,简要揭示对女性电影发展不容无视的社会主义早期电影的公共生产模式和能动实验性;最后通过分析王苹的电影重审社会主义时期女性文化实践的多维主体性,将其视为镶嵌于多重历史力量互动作用中的一个具有机动/偶合性的呈现。

This essay studies Wang Ping, the first Chinese socialist female film director, and her most representative mainstream film, The Story of Liubao Village （1956）, retheorizing female cinematic authorship and addressing two critical issues in feminist film theory and Chinese cinematic studies： the definition of women＇s cinema as an individual, marginalized practice automatically containing subversive effects; and the dismissal of Chinese socialist cinema as monolithic and purely propagandistic with no aesthetic values. More specifically, this essay （ 1 ）traces the formation of socialist feminist public/official space in the political-economic system of early socialist China, which plays the key role in initiating Chinese women＇s cinema; （2）stresses the importance of the public mode of film production and experimental nature of early socialist cinema in developing women＇s cinema; and reconfigures women＇s cultural agency as multi-dimensional and contingent, embedded within interactions among a multiplicity of historical forces.