1937~1945年中国电影文化生态中的抗战电影研究——兼析影片《日本间谍》(1943)

The Japanese Spy(1943)——The overall form distribution of Chinese films and the political propaganda strategy of Anti-Japanese War films

1937年抗战全面爆发后,战前已然形成的中国新电影形态,在整体上并没有被战火摧毁,只是被分割进入并依附不同的地缘政治继续发展前行。上海"孤岛"和沦陷区接受容纳了新市民电影和国粹电影,同时复兴了战前被新电影淘汰出局的旧市民电影,共同构成其畸形繁荣局面。此前由左翼电影转型提升而来的国防电影自然延伸为战时的抗战电影,在太平洋战争爆发前的香港受到市场和内地文化辐射的双重激励,曾一度跻身主流电影;国统区抗战电影的生产完全依赖于三家官方制片厂,启蒙民众、激励军心民心和政治宣传并重。现存的、公众可以看到的抗战电影文本只有6个,香港和"中制"出品的各占一半。《日本间谍》的特殊性在于,在反映东北地区抗战上与《塞上风云》中的北部边疆抗日形成地域呼应,在涉及他国的关系上,主人公的意大利籍身份,又与《东亚之光》中日本反战士兵的国族背景相呼应。

After the outbreak of Anti-Japanese War in 1937, the new Chinese film pattern formed before the war was not destroyed by the war on the whole, but divided into different geopolitical mode and continued to develop. The "isolated island" and the occupied area of Shanghai accepted and accommodated the new citizen film and the quintessence film, and revived the old citizen film which had been eliminated by the new film pattern before the war. A year ago, the national defense film, which was promoted from the left-wing film, naturally extended to the Anti-Japanese War film. Before the outbreak of the Pacific war, Hong Kong was influenced by the market and the cultural radiation of the mainland. Production of Anti-Japanese War films in Kuomintang-controlledarea dependedcompletelyon the three official studios, which enlightened the people, stimulated the morale of the army and attached equal importance to political propaganda. There are only six copies of Anti-Japanese War films available to the public, with half produced in Hong Kong and half produced in China. The particularity of the Japanese Spy lies in that it reflects theAnti-Japanese War in northeast China and forms a region echoes with the Storm on the Border. In terms of the relationship with other countries, the Italian identity of the protagonist has an echo with the national background of the Japanese anti-war soldiers in theGlory of East Asia.