“孤岛”电影中国家意识的转换性表达——从影片《木兰从军》恢复上海民族电影产业肇始

The Transformation of National Consciousness during the “Orphan Island” Period — From Hua Mulan that Restart of Film Production in National Film Industry in Shanghai

"孤岛"时期,电影《木兰从军》不仅是上海民族电影产业复业的开始,同时创造出国家意识转化性表达的一套电影语言语法。在政治高压下,电影无法直接表达抗日爱国等宏大叙事,电影创作者只能拍摄一些表面看似与现实无关的古装/民间题材、爱情故事、喜剧故事等影片,通过借古讽今等方式曲折的表达民族主义和家国情怀。与此同时,上海电影产业面对大量市民观众的观影心态和情感诉求,影片的创作渐渐消解了强烈的民族主义表达,过渡到直接关注现实生活细节的时装片。正是这样的表达方式才有利于与上海市民互动,共同建设上海都市文化,并且形成对都市的情感认同。

During the ＂Orphan Island＂ period, the film named Hua Mulan from Hsin Hwa Studio took the lead in the restart of the national film industry in Shanghai. Furthermore, the filmmakers could only express some non-politically related themes, such as ancient folk story, romance and comedy, which have nothing to do with reality. They had to indirectly express nationalism and patriotism by using historical stories to satirize current situation under Japanese rule. Meanwhile, Shanghai national film industry was facing local demand for more new pictures with emotional appeal. As a result, film production gradually lost the intense expression of nationalism. Instead, it transformed to modern style which focused on details of current daily life. This transformation helped the Shanghai film industry communicate with the people of Shanghai, build up Shanghai urban culture and form the emotional identity of the city.