20世纪30年代上海画报的编辑策略、文本形态与价值功能——以《良友》《时代》《中华》等画报为考察中心

The Editing Strategy,the Text Form and the Value Function of the 1930s’ Shanghai Pictorial:A Study of Pictorials such as The Young Companion,The Modern Miscellany and The China Pictorial

画报参与“近现代”的叙述,是中国近现代文化发展的一项重要内容。20世纪30年代《良友》等上海画报在文本形态和审美特质上,都呈现其他时代和其他城市所不具有的文化姿态和精神气度。一般而言,《良友》等上海画报的材料常分为“图片”和“文字”两类,它们采取“包罗万有”“兼收并蓄”取材方式,展示出一个“杂烩式”图文世界;同时这些画报通过“拼装”策略把不同意义的素材进行穿插、重组,形成活泼新鲜的图文版面;实际上这些画报以其快速的反应能力,敏感地捕捉都市时尚生活和流行事物,营建了关于都会现代性的一整套“摩登”想象。作为20世纪30年代都市的“混合媒介”,这些画报集新闻、文艺、科技等于一体,是新观念与新技术在特定时空中的结晶,它们所呈现的诉诸感官、零碎平面化的“通俗现代性”,正与现代那些有着明晰的启蒙、革命的“精英现代性”一道构成了中国现代转型的双重复调。

The participation of pictorials in shaping the narrative of “modernity” was an important part of the development of modern Chinese culture.Pictorials in Shanghai in the 1930s,such as The Young Companion,The Modern Miscellany and The China Pictorial,showed a cultural attitude and spiritual attribute never seen in other times or cities,in terms of the text form and aesthetic characteristics.Generally speaking,the materials used in Shanghai pictorials such as The Young Companion could be classified into two categories:“pictures” and “words”.Specifically,the materials were “all inclusive”,showing a “hodgepodge” world of images and texts.The pictorials interwove and reorganized materials of different meanings through the strategy of “packaging” to form a lively and fresh graphic layout,which was similar to the effect of silent films.With quick reactions,the pictorials sensitively captured urban fashions,and constructed a whole set of “modern” imagination about the metropolis.As “mixed media” in the city of the 1930s,these pictorials were crystallizations of new concepts and new technologies in a specific time and space,integrating news,literature,art,science and technology.They rendered a “popular modernity”,appealing to the senses and being fragmented and flat,which,together with an “elite modernity” definitely in pursuit of enlightenment and revolution,formed the polyphony of the modern transition of China.