第三种声音:1930年代国粹电影的生态背景及其历史意义

The Third Voice:The Ecological Context of 1930s Nationalist Cinema and Its Historical Significance

1930年代初期,中国电影有新、旧之分,宣扬抗日救亡、为弱势阶层发声的左翼电影属于新电影,这是学术界多年来的公论。但研读现存的、公众可以看到的1938年之前的电影文本就会发现,新电影还包括有条件地抽取借用左翼电影思想元素以扩大市场份额的新市民电影,以及既反对左翼电影激进的社会革命立场,同时又反对新市民电影侧重都市文化消费的国粹电影。国粹电影生成于中西方文化激烈碰撞的大背景下,在对待传统文化大是大非的态度上,摒弃了以往旧市民电影抱残守缺,故步自封的取用原则,代之以选取优质资源,试图在新时代潮流中为故邦找寻家国一体的立身之本、确立强健民族新生命脉动的努力。作为第三种声音,国粹电影不仅即时进入抗战全面爆发前中国电影多元化的新一代话语编程体系,而且成为其结构性的重要组成部分。

In the early 1930s,the Chinese cinema was mainly divided into two schools-the New Film and Traditional Film.The New Film refers to the Left-wing Film that advocated Anti-Japanese movement and voiced for the disadvantaged,which has been extensively discussed in the academic circle over the years.However,if we study the existing films before 1938 that the public can see,we will find that the new films also include the New Citizen Film,which conditionally borrows the ideological elements of Left-wing Film to expand the market share,as well as the Nationality Film,which opposes the radical social revolutionary position of the Left-wing Film and New Citizen Film,which focuses on urban cultural consumprion.Under the background of the fierce collision between Chinese and Western cultures,the Nationalist Film,in its attitude towards traditional culture,has abandoned the conservative principle of the Traditional Film.Instead,it has selected high-quality resources and tried to find the foundation of the integration of family and state in the trend of the new era and established the efforts to strengthen the nation's new life pulse.As the third voice and the third position,the Nationalist Film not only immediately entered into the new generation of diversified discourse programming system of Chinese films before the outbreak of the Anti-Japanese War,but also became an important part of the system which had profound influence on the current films.