对立性之本与主体性渐显——1932年前的中国电影改编研究

Breathing Based on Opposites and Subjectivity:Research on Early Chinese Film Adaptations before 1932

1932年前的中国电影改编,若以《孤儿救祖记》为节点,可细分为两个阶段:1905—1923年,1924—1932年。虽时间都不算长,但此间却构建了早期中国电影改编的两大根本:一个是对立性基础,另一个是"主体"系统。对立性之本得益于早期中国电影改编的两大倾向,一是向戏曲靠拢,二是向文明戏、现代小说靠拢;而"主体性"的建立,则既得益于一种结构中国故事的方法论("家庭伦理"的结构方法)的发现,更得益于鸳鸯蝴蝶派文人的一种非凡贡献。

Through the use of the 1932 film, "An Orphan Rescues His Seniors" as a time frame, early Chinese film adaptations can be subdivided into two stages: one from 1905 to 1923;one from 1924 to 1932. Despite the two time periods being short ones, it was during these stages that two major system of early Chinese film adaptions were developed, namely: one is the "breathing" system, and the other is the "main body" system. The emergence of the "respiratory system" is due to the two major tendencies of early Chinese film adaptation, one is to move towards opera, the other is to move towards civilized drama and modern novels;and the establishment of "subjectivity" benefits from a structure. In particular, the discovery of the methodology of the Chinese story(that is, the structural method of "family ethics") has benefited from an extraordinary contribution by the Yuanyang Butterfly literati.