左翼电影的阶级性及其伦理模式——《母性之光》(1933)再读解

The Class Nature and Ethical Mode of Left-wing Films——A Reinterpretation of Light of Motherhood(1933)

1933年,联华影业公司出品的由卜万苍根据田汉原作编导的《母性之光》,即被当时的评论视为伦理片和革命剧。这是一部不折不扣的左翼电影:影片对正反面形象的妆容造型选择和内在命名思路,体现了由阶级性延展而来的左翼电影的面相学和姓名学逻辑;对人物情感关系的设置和表达,在巩固左翼电影革命伦理模式的同时,又完成了对人性的遮蔽。同时,影片大比例的歌舞元素配置再次证明,左翼电影不仅仅是知识分子对所谓先进理念的传导宣传,而首先是时代和市场化产物。从中国电影文化的社会维度上看,左翼电影的历史价值和现实意义穿越时空,直抵当下。

Light of Motherhood(1933),a film by Lianhua Film Company with Pu Wancang’s adaptation of Tianhan’s work,was deemed as anethical and revolutionary film. It was a downright left-wing film: its modeling of characters and their names reflected the physiognomic and naming logic of left-wing films;the characters’emotions and relations strengthened the revolutionary and ethic mode of left-wing films and covered up human nature;its much singing and dancing proved left-wing films were not only intellectuals’propaganda of their ideas,but also a product of its time and marketization. In the social dimension of Chinese film culture,left-wing films possess historical and realistic values even for contemporary China.