20世纪20至30年代好莱坞“明星”文化的中国式移植

The Chinese Transplantation of Hollywood Star Culture in the 1920s and 1930s

电影“明星制”是指在大众传媒及制片商的共谋中,以银幕形象为基础,将电影演员的私人生活作为主要消费对象的一种庸俗的人才等级制度。20世纪20至30年代的中国电影界,从好莱坞移植了两种“造星”方式:20年代初期,主要是利用“社交名媛”自带的“光环”引领票房热度,美国的“飞波姊儿”式人物与中国的殷明珠等人的“明星”之路及“明星”特质多有趋同;20年代中后期及30年代初期,随着明星制的成熟与商业需求的膨胀,利用新的传媒力量将无名之辈打造成银幕“巨星”成为必然。而在这个潮流中,中国不仅有与克莱拉宝等相似的主打“性感热辣”的梁赛珍之类的纯娱乐女星,更有在左翼文艺影响下出现的与好莱坞“热女郎”有明显差异的艾霞与胡萍等女星——在媒体的推波助澜之下,她们现实中的左翼身份及其塑造的具有思想“热力”的银幕女性形象,经常被迫与娱乐特质交叠在一起,这进一步体现了明星制将演员的银幕形象与私人生活联动,策划一种平庸浮躁的“跨媒介消费”的根本特性。

The“star system”in movies refers to a vulgar talent rating system that is based on the image of the screen in the collusion of mass media and producers,with the private life of movie actors as the main consumer object.In the 1920s and 1930s,the Chinese film industry transplanted two ways of“star making”from Hollywood:in the early 1920s,it mainly used the“aura”of“socialites”to lead the box office heat,and the“flying wave sister”style characters in the United States and the“star making”path of China’s Yin Mingzhu and others had many similarities with the characteristics of“stars”;In the mid-late 1920s and early 1930s,with the maturity of celebrity systems and the expansion of commercial demand,it became inevitable to use new media forces to turn unknown individuals into screen“superstars”.In this trend,China not only has pure entertainment actresses such as Liang Saizhen,who are similar to Clara Bow and focus on being“sexy and hot”,but also actresses such as Ai Xia and Hu Ping,who have emerged under the influence of left-wing literature and have obvious differences in characteristics from Hollywood’s“hot girls”.Under the influence of the media,their left-wing identity in reality and the portrayal of emotionally charged female characters on screen are often forced to overlap with entertainment characteristics,further reflecting the fundamental characteristic of the celebrity system in linking actors’screen images with their personal lives and planning a mediocre and impetuous“cross media consumption”.