不同于旧市民电影的旧,也有别于新电影的新——国粹电影《人海遗珠》(1937)读解

Being Different from the “Old” Citizen Film and the “New” Citizen Film--Interpretation of the National Quintessence Film “The Lost Peart”(1937)

20世纪30年代初期,中国电影有了新、旧之分。旧电影即旧市民电影,新电影除了左翼电影,还有有条件地抽取、借用左翼电影思想元素的新市民电影,以及既反对左翼电影激进的社会革命立场,又反对新市民电影的都市文化消费主义,同时又具有旧市民电影不曾具备的新思维的国粹电影。《人海遗珠》以母亲形象和女儿形象的道德担当为切入点,体现的既是家国一体的核心价值观念,也是在新的时代对传统伦理道德的重新定位。这是朱石麟、也是国粹电影在抗战全面爆发前夕的进一步丰满和持续阐释,更是国粹电影的文化主张在1937年的新标识。

In the early 1930s,Chinese films were divided into the old and the new.The old film is the old citizen film.In addition to the left-wing film,the new citizen film conditionally extracts and borrows the ideological elements of the left-wing film,as well as the urban cultural consumerism which opposes the radical social revolutionary position of the left-wing film and the new citizen film.At the same time,the new citizen film has the quintessence of Chinese culture which the old citizen film does not have.With the moral responsibility of mother and daughter as the starting point,the novel reflects not only the core values of the integration of family and country,but also the reorientation of traditional ethics in the new era.This is the further fullness and continuous interpretation of Zhu Shilin and quintessence films on the eve of the full outbreak of the Anti Japanese War,and also the new symbol of the cultural proposition of quintessence films in 1937.