从两版《小城之春》看中国两代电影导演的民族文化传承

The Ethnic Cultural Inheritance of Two Generations of Chinese Film Directors from Two Editions of Spring in a Small Town

文化是人的共识符号,也是人类结成稳定共同体的依据和内在动力。其中,精神文化的传承或再生产,是这种共同体的内聚和认同的源泉。电影艺术是精神文化的重要组成部分。通过电影艺术,实现民族文化的传承与发展,是中华民族文化伟大复兴的重要路径。1948年被誉为“中国现代电影前驱”的费穆拍摄了他的巅峰之作《小城之春》,电影中浓烈的诗意韵味,透露出“一切景语皆情语”的中国传统美学的幽香。2002年中国“第五代导演”田壮壮拍摄了同名电影《小城之春》,以跨越时空更加理性客观的感受致敬经典故事。两版《小城之春》,两代中国电影导演,在横跨54年的同题诠释中,向我们传递了如何通过电影艺术来识别民族身份的重要话题。该文拟从不同时期电影人将电影语言与传统文化相融合的不懈追求,谈对中国电影创新发展的思考与期许。

Culture is a consensus symbol of human beings,as well as the basis and internal driving force for forming a stable community.Among them,the inheritance or reproduction of spiritual culture is the source of cohesion and identification in this community.Film art is an important component of spiritual culture.The inheritance and development of national culture through film art is an important path for the great rejuvenation of Chinese national culture.In 1948,Fei Mu,who was hailed as a pioneer of modern Chinese cinema,filmed his peak work Spring in a Small Town.The strong poetic charm in the film reveals the fragrance of traditional Chinese aesthetics,which is"all scenery and language are emotional language".In 2002,the fifth generation Chinese director Tian Zhuangzhuang filmed the film Spring in a Small Town with the same name,paying tribute to the classic story with a more rational and objective feeling that transcends time and space.Two editions of Spring in a Small Town,two generations of Chinese film directors,have conveyed to us an important topic of how to identify national identity through film art in their 54 year long interpretation of the same topic.This article aims to explore the unremitting pursuit of filmmakers in different periods to integrate film language with traditional culture,and to discuss their thoughts and expectations for the innovative development of Chinese cinema.