从新修复的《恋爱与义务》重探1930年代早期电影的多义性

Research on the polysemy of early Chinese films in the 1930s seen from the newly-adapted Love and Duty

论及1930年代的早期电影,往往会受制于"启蒙"与"商业"、"精英"与"大众"的二元框架。通过回到"国片复兴"诉求下《恋爱与义务》从小说改编到影片制作的一系列历史现场,试图揭开这一框架下被遮蔽的多重意义空间。在二三十年代个人解放话语方兴未艾之时,《恋爱与义务》独特地将"走出家庭"与"重建家庭"并置讲述,在日常现实情境中同情地呈现恋爱与婚姻、激情与义务的两难冲突,通过阮玲玉等优秀演员的精彩演绎,一种具有现代爱情观念与家庭观念的"新人"形象呼之欲出。

When it comes to early Chinese films in the 1930s, opinions are divided into binary framework between theenlightment and the commercial, or the elite and the popular. By analyzing the film Love and Duty and by recalling thehistorical background of reviving national films, the present essay means to uncover the multiple meanings of the earlyfilms in the 1930s. The film Duty and Love uniquely juxposes the two narratives of going out of the family and ofreconstructing the family, reveals the dilemma between love and marriage, passion and duty in the context of everydaylife, and characterizes a “New Image” with modern concepts of love and family seen from such superstars as YuanLingyu.