“母爱经验”的迭代与异化——试论上海早期电影《空谷兰》和《神女》中体现的现代女性困境

The Iteration and Alienation of“Maternal Love Experience”:Modern Women’s Dilemma in Early Shanghai Films Empty Valley Orchid and Goddess

在20世纪30年代的上海,女性性别主体结构的缺失在获取或付出“母爱”的感知经验方面变得明显。“母爱经验”主题的书写与接受在进入戏剧和电影的场域后需要被进一步关注其迭代和异化的过程,小说《空谷兰》从英国奇情小说脱胎而来,后被改编成文明戏和情节电影,以不同的媒介形式不断更新“母爱经验”的表达方式。《空谷兰》及其周边作品利用“奇观”的文化趣味来反映父权体制的压迫,重复着试图反抗却无法成功,最终将女性推向脆弱的“母爱庇护所”的“母爱模型”。而无声电影《神女》对于“母爱经验”的重现则体现于将“母爱庇护所”重建后再彻底打破,褪去了奇观趣味,《神女》的主演阮玲玉则试图将现实生活中的身体经验与电影中看似可被反转的“母爱经验”结合,她在电影叙事中已经体验过相似的悲剧人生,却仍然不能依靠习得的“母爱”感知技能去应对现实生活中女性主体结构缺失所造成的困境,最终揭示出“母爱经验”发生异变的结局。

In Shanghai in the 1930s,the lack of female gender subject structure became obvious in terms of obtaining or giving the perceptual experience of“maternal love”.The novel Empty Valley Orchid was born out of British strange love novels,and then was adapted into civilized plays and plot movies,constantly updating the expression of“maternal love experience”in different media.Empty Valley Orchid and its surrounding works use the cultural interest of“spectacle”to reflect the oppression of the patriarchal system,repeating the“maternal love model”that tried to resist but failed,and finally pushed women to the fragile“maternal sanctuary”.On the other hand,the reappearance of the“maternal love experience”in the silent film Goddess is reflected in the complete breaking of“maternal love sanctuary”after rebuilding it,while Ruan Lingyu,the star of Goddess,tries to combine the physical experience in real life with the seemingly reversible“maternal love experience”in the film.She has experienced a similar tragic life in the film narrative.However,she still can not rely on the acquired perception skills of“maternal love”to deal with the predicament caused by the lack of female subject structure in real life,and finally reveal the outcome of the abnormal change of“maternal love experience”.