论1949～1951年间私营电影的创作语境与作品风格

On the Creation Context and Style of Private Films in 1949～1951

在现有的电影史研究成果中, 1949～1951年间的私营电影往往被淹没于"十七年电影"的一贯叙述中,其创作语境与作品风格的历史特殊性未被彰显。这一时期私营电影的创作语境由两个方面共同构成——一是对"战后"(1945～1949年)上海电影的制片传统的继承,另外是受1949～1951年间特殊时代背景的影响。这一语境对私营电影的作品风格影响深远。在"《武训传》事件"爆发之前,私营电影能够在相对宽松的政策下创作,其创作风格明显有别于"十七年"间其他国营电影,在人物塑造、悲喜叙事等方面别具一格,为中国电影史留下了很多艺术精品。

Regarding to film history studies,especially private films studies from 1949 to 1951 with the establishment of People’s Republic of China,there is an inclination of cohort analysis which limited to a mode of“seventeen-year cinema”narration that the particularity of context and styles has not been highlighted.During this period,the contexts of private film studies were constituted by two streams.This is specially manifested in the contradiction of“CPC’s policy of literature and art”and“the historical situation in the early period of new China”which exerts significant influences on the destiny of private films.Before the event of The Life of Wuxun(《武训传》),the general filmic environment for private films is relatively free considering the loose supervision of authority.As a result,the aesthetic style of private films apparently distinguished from other state-owned“seventeen-year cinemas”not only in the field of characterization but also in the field of narration which created many influential artworks for Chinese film history.