论二十世纪五六十年代香港左派公司的戏曲电影--兼谈左派与港产类型片的关系

On Opera films of Hong Kong Leftist Companies in the 1950s-60s:The Interactions Between Leftists and Hong Kong Genre Film

论及香港戏曲电影,人们的印象中似乎只有邵氏的黄梅调电影。事实上,在香港戏曲电影兴起的二十世纪五六十年代,早期的开拓者并非邵氏和李翰祥,而是左派公司及其影人。一方面,正是他们在与内地戏曲文化的交流互动中汲取养料和灵感,凭着探索精神和对受众市场的敏感,对具有中国气派的古装歌舞片进行了早期探索,才推动了中国戏曲由古典形态向现代形态的历史转型,为华语戏曲电影的繁荣开创了崭新的局面;另一方面,从冷战与类型片关系的角度来说,在批判资本主义的现实主义制片路线受阻后,戏曲片同随后的武侠片一道,成为左派公司尝试以类型片变奏建构理想中国的重要资源。

When it comes to Hong Kong opera films,it seems that people only have the impression of Shaw Brothers'the Huangmei Opera films.In fact,inl950s—60s,the early pioneers of Hong Kong opera films were not Shaw Brothers and Li Hanxiang,but leftist companies and their filmmakers.It is they who draw nourishment and inspiration from the communication and interaction with mainland opera culture,and with the spirit of exploration and sensitivity to the audience market,explore on the Chinese—style ancient costume musical films,promote the historical transformation of Chinese opera from the classical form to the modern form,and create a new situation for the prosperity of Chinese opera films.On the other hand,from the perspective of the relationship between the cold war and genre films,after the production aimof realism was blocked,opera filmstogether with the subsequent martial arts films,became important approaches and resources for leftist companies to construct ideal China with the variations of genre films.