审视电影与社会之关系:夏衍对欧美电影的认知与接受(1930—1949)

Examining the Relationship between Film and Society:Xia Yan's Cognition and Acceptance of European and American Films (1930-1949)

从左翼时期到建国前期,夏衍对欧美电影批评话语大致可分为审慎鉴别、战时同盟与强烈抵制三个阶段。电影社会学作为一种研究方法,打开了回溯夏衍电影批评活动的窗口。固有的阶级立场体现了夏衍对欧美电影接受的意识形态尺度,“真实观”既是评判标准,又生成了对异文化的调适策略。夏衍对欧美电影意识形态副产物的认同与社会肌理达成了逻辑上的一致性。影评话语的生成与变调,最终是文化政治作用的结果。夏衍对欧美电影的认知超越了文本本身的范畴,建立起内容层面上与生产层面上的电影社会学批评范式。

From the Left-Wing period to the early stage of the founding of the People's Republic of China,Xia Yan's critical discourse on European and American films can be roughly divided into three stages:cautious discrimination,wartime alliance,and strong resistance.As a research method,film sociology has opened up a window for tracing Xia Yan's film criticism activities.The inherent class stance reflects Xia Yan's acceptance of the ideological scale of European and American films,and the "view of truth" is not only a criterion for evaluation,but also generates strategies for adapting to different cultures.Xia Yan's identification with the ideological by-products of European and American films and social fabric had reached a logical consistency.The generation and variation of film criticism discourse is ultimately the result of cultural and political influence.Xia Yan's understanding of European and American films went beyond the scope of the text itself,establishing a paradigm of film sociological criticism at both the content and production levels.