左翼电影的模式及其时代性——二读《大路》（1934）

The Model of Left-wing Films and the Times:A Second Reading of The Road(1934)

《大路》是典型的左翼电影:对外反对侵略,对内反抗强权,阶级性与宣传性并重,其暴力表达具备群体性即集团性和阶级性特征,是左翼电影最突出的特征。更重要的是,左翼电影虽然脱胎于旧电影即旧市民电影,对旧市民电影的元素多有承接。但其先锋、前卫的内在品质,又决定着左翼电影在时代性与商业性、技术性与艺术性、市场卖点与情色元素等各方面的创新承前启后且毫无顾忌。另一方面,左翼电影对女性身体资源领域内的大脸脸型选择,在成为1949年以后中国电影女明星的主流脸型的同时,其姓名政治学的文化逻辑,又进入并影响着中国电影的话语表达。

The Road is a typical left-wing film:the external opposition to aggression,the internal resistance to power,the equal emphasis on class nature and propaganda,and its violent expression have the characteristics of group and class,which are the most prominent features of the left-wing film.More importantly,although the left-wing film is born from the old film,the old citizen film,it has a lot of elements to carry on the old citizen film.But its pioneering and avant-garde internal quality also decides that the left-wing film is in the times and the commercial,the technical and artistic,the market selling point and the emotive element,and so on,without any scruple.On the other hand,the choice of big faces in the field of women’s body resources in the left-wing film has become the mainstream of new Chinese film stars after 1949,and the cultural logic of name politics has entered and influenced the discourse expression of the new Chinese film.