《小城之春》作为“中国电影”的另一种阐释——以互文性理论作为方法

Spring in a Small City as Another Interpretation of“Chinese film”:Uses Intertextuality Theory as an Approach

《小城之春》作为“中国电影”的典型代表,其“中国性”问题一直是学界讨论的重要议题,但这种讨论始终没有摆脱印象评鉴式的层次。互文性理论视野将这一问题的探讨回归到文本话语空间,在文本交互的场域,发现《小城之春》与中国传统视觉艺术自成一个互文系统,其中“元绘画”与镜语空间的文本互文关系、中国传统仕女画与人物形象的隐性互文关系,以及盆景、女红等元素在影片中的文化互文关系,都成为《小城之春》“中国性”的有力注脚。

Spring in a Small City,as a representative masterpiece of“Chinese cinema”has always been an important subject of discussion in academic circles regarding its distinct“Chineseness.”However,these discussions have never escaped from the level of impressionistic evaluation.The theoretical vision of intertextuality re⁃turns the exploration of this issue to the textual discourse space.In the field of textual interaction,it is found that Spring in a Small City and traditional Chinese visual arts form an intertextual system of their own,in which the textual intertextual relationship between“Yuan Painting”and the mirror space,the im⁃plicit intertextual relationship between the traditional Chinese painting of noble ladies and the characters,as well as the cultural intertextual relationship between bonsai,needlework,and other elements in the movie have become a powerful footnote to the“Chineseness”of Spring in a Small City.