性别、民族与社会主义现代性:《五朵金花》中的旅途叙事与公路形态

Gender,Ethnicity and Socialist Modernity:Journey Narrative and Road Mode in Five Golden Flowers

与通常将电影《五朵金花》作为少数民族题材的喜剧与音乐风光电影探讨不同,本文探究其如何将社会主义背景下的性别解放与民族平等主题编织进公路叙事。将《五朵金花》作为"公路电影"研究不仅可以挑战此类型的西方中心框架,也会赋予影片新的解读视角,如位于电影核心的"社会主义道路"的时间与空间隐喻。在此过程中,民间文化尤其是民歌及当时尚属新奇的彩色摄影呈现的乐观性暗示了其社会主义现实主义风格。除了影片叙事中的旅途及社会主义的象征性"旅途"之外,《五朵金花》本身跨越多个国家的旅途也使其在"冷战"时期"文化外交"方面扮演了重要角色。于是,社会主义现实主义与公路电影的跨国元素相遇与重叠,创造出一种旅行世界的多层次流动。

While Five Golden Flowers(Wang Jiayi,1959)is usually discussed both as a comedy and a scenic musical about ethnic minority people,this article explores how the film interweaves the issues of gender and ethnic equality into a road narrative.Examining Five Golden Flowers through the framework of the"road movie"not only challenges the Euro-American-centric framework,but also brings a new interpretive perspective by attending to,for instance,the metaphor of temporality and space of the"socialist road"that is central to the film.As I will argue,the sense of optimism expressed through permeative folk culture,especially evident in the film’s folk songs and its-then-innovative color cinematography,suggest a socialist realist style.In addition to the journey that takes place in the cinematic narrative and the symbolic socialist"journey",Five Golden Flowers made important journeys of its own,traveling to more than forty nations during the Cold War era and playing a significant role in the civil and cultural diplomacy at the time when the PRC had no official diplomatic relations with most Western nations.Therefore,the transnational aspects of socialist realism and the road movie encounter and overlap within and beyond the film,creating a multi-layered movement traversing the world.