改编的“辩证法”与政治“动力学”:吴祖光电影创作考论(1946—1949)

Adaptation Dialectics and Political Dynamics:Wu Zuguang's Film Creation(1946-1949)

20世纪40年代中后期,在沪港电影交流及“影剧融合”的大背景下,剧作家吴祖光完成了跨界转型并赴香港地区拍片。在《风雪夜归人》等影片的改编过程中,吴祖光尝试以电影化的技巧呈现原著的戏剧冲突,但由于未能把握文学作品与电影媒介的辩证关系,导致他的电影创作未能突破舞台和文字的束缚。此外,吴祖光影片的创作原则、艺术手法,特别是对现实的反映、人物塑造及政治倾向等,亦引起批评界的论辩和争鸣,体现了战后初期香港地区独特的社会文化语境对电影的形塑,标识出中国电影在时代转折之际的探索和转型。

In the mid to late 1940s,amid the film exchanges between Shanghai and Hong Kong and the fusion of drama and cinema,playwright Wu Zuguang embarked on a cross-disciplinary journey to Hong Kong to delve into filmmaking.During the adaptation of films like Latecomer in the Snow,Wu Zuguang attempted to employ cinematic techniques to accentuate the conflicts.However,due to his misunderstanding of the relationship between literary works and the medium of film,his films remained constrained by stage and script.Wu Zuguang's principles of film creation,artistic techniques,and particularly his approach to reflecting reality,character development,and political inclinations,sparked debates and controversies.This reflected the unique social and cultural context of early post-war Hong Kong,which molded the film industry and underscored the exploration and transformation of Chinese cinema during a pivotal era.