寓教于乐与政治隐喻:理解民国儿童电影的维度

Edutainment and Political Metaphor:On the Dimension of Understanding the Children’s Films in the Republic of China

20世纪30年代至40年代,儿童电影作为一种寓教于乐的新式启蒙工具,引领了儿童社会生活变革的新风尚。1935年联华影业公司与江苏省教育厅联合打造的《小天使》阐扬南京国民政府在新生活运动中对于妇女与儿童角色的规范。次年拍摄的《迷途的羔羊》观照对象是国统区的流浪儿童,蕴藏着左翼文化人对国民党政权的制度批判。1941年于“孤岛”上海首映的《铁扇公主》隐喻了沦陷区民众在战时“苦撑待变”形势下的文化心理与抗战建国图景的想像。儿童影片在承担着娱乐教育的同时,还被赋予了政治言说的功能,恰可作为理解民国儿童电影的重要切入点。

From the 1930s to the 1940s,the children’s film,as a new enlightenment tool of edutainment,led the new-style change of children’s social life.In 1935,The Little Angel produced by Lianhua Film Company and Jiangsu Provincial Department of Education,expounded the Nanjing National Government’s norms on the roles of women and children in the new life movement.The following year,The Lost Lamb aimed at the street children in the National Unification Zone,implying the left-wing cultural people’s criticism of the Kuomintang regime system.Princess Iron Fan,which was shown in isolated Shanghai in 1941,metaphorically depicted the cultural psychology of the people in the fallen areas,along with the imagination of the Anti-Japanese War for the founding of new China in the war time.While taking on the function of entertainment and education,the chil⁃dren’s film is also entitled with the function of political speech,which can be used as an important approach to understanding children’s films in the Republic of China.