华语电影概念的起源、发展和讨论——鲁晓鹏教授访谈录

A Debate on the Concept,Origin and Development of “Chinese-language Cinema”:An Interview with Professor Lu xiao-peng

"华语电影"概念不是出自20世纪90年代中国的港台学界,而是更早出自20世纪50年代的新加坡、马来西亚华文书刊。它是当时华人创造的概念,用以寻求一种自主的华人电影论述方式。早在20世纪五六十年代,新加坡和马来西亚的本土电影导演和媒体报刊已普遍使用华语电影一词,当时新加坡已有华裔导演易水亲自拍摄使用普通话和华人方言的华语电影,易水也前后在当地报刊撰写有关华语电影的文章,引起了不少反响和讨论,之后他把这些文章和讨论结集出版成书。华语电影在当时的使用语境已类似当代华语电影的用法,即是一个复数的概念,既包含中国大陆和港台以及其他华人区域的中文电影,亦涵盖各地华人方言电影。当时新加坡、马来西亚华语电影提倡的"多种华语"是21世纪鲁晓鹏和叶月瑜提出的华语电影的先声。这不但为我们当代华语电影概念的生成深化提供了一个历史化的维度,也在厘清华语电影概念既不是美国中心主义,也不是中国中心主义的争论中具有重大意义。

＂Chinese-language cinema＂ does not originate from Hong Kong/Taiwan Residents scholarship of the 1990s, but it can be tracked to Chinese books and periodicals in Singapore and Malaya in the 1950s. It was a concept produced by Chinese people in Singapore and Malaya at around the time of independence in search of an autonomous cinema discourse for Chinese people. In the 1950s and 1960s, the term ＂Chinese-language cinema＂ was already in wide use among local Singaporean and Malayan directors and in the media. A Singaporean Chinese director of the time, Yi Shui, was making ＂Chinese language films＂ containing Mandarin and Chinese dialects Around this time, Yi Shui was also writing articles on Chinese-language cinema in periodicals in Singapore and Malaya, which sparked much debate in and response from society. A short time later, he published a collection of these essays and debates. The context in which the term ＂Chinese-language cinema＂ was used at the time in Singapore and Malaya was very similar to its usage today： as a plural concept, including films in Chinese from China's Mainland, Hang Kong, Taiwan, and other Chinese areas as well as films in all Chinese dialects. The term＇s promotion of ＂multiple Chinese languages＂ in mid-20th century Singapore and Malaya was the herald of Professor Sheldon H. Lu and Emilie Yeh＇s promotion of ＂Chinese-language cinema＂ in the 21st century. This not only deepens our understanding of the formation of the contemporary concept of ＂Chinese-language cinema＂, giving it a historical dimension, but also has great significance in the debate over the concept of ＂Chinese-lan- guage cinema＂ by showing that it is neither ＂US-centrism＂ nor ＂China-centrism＂