德国表现主义电影在中国——20世纪二三十年代德国表现主义电影在中国的跨文化语用学际遇

German Expressionist Films in China:Cross-cultural Pragmatics Encounter of German Expressionist Films in China in the 1920s and 1930s

1920—1927年,德国表现主义电影在世界影坛大放异彩。其中,最具代表性的作品《尼伯龙根》《大都会》都曾在当时的中国都市公映。前者融神怪与史诗为一体,受大众热捧;后者的科幻类型与未来主题,更受智识阶层的青睐。这股电影风潮,也引发了中国文艺批评者对电影本体的思考:田汉为表现派冷峻而怪幻的抽象之美所折服;刘呐鸥则更看重这些电影作者的光影探索对确立电影艺术独立地位的重要价值。当然,这些风格鲜明的表现主义作品,也影响了20世纪30年代的中国电影创作,费穆、吴永刚等业界精英在《联华交响曲之春闺断梦》《浪淘沙》等片中化用了其最具风格化的光影布景及先锋意蕴。当时中国的不同阶层对德国表现主义电影的形式及意义建构的不同预期,以及深蕴于中国本土观众及创作者内心的“影戏”传统、“中和之美”等文化图式最终决定了其在中国虽有萌芽却终未汇为潮流的跨文化语用学际遇。

beauty of expressionism;Liu Na-ou placed greater em⁃phasis on the significant value of these filmmakers’exploration of light and shadow in establishing the independent status of film art.These distinctive expressionist works also influenced Chinese filmmaking in the 1930s.Industry elites such as Fei Mu and Wu Yonggang incorporated their most stylized lighting and set designs,as well as avant-garde implications,in films like“Lian⁃hua Symphony in Spring”and“Wave Washing Sand”.At that time,different strata in China had different expectations on the form and meaning construction of German expressionist films.Moreover,the cultural schema of“film”tradition and the“beauty of neutralization”deep in the hearts of local Chinese audiences and creators ultimately determined the cross-cultural pragmatics encounter of German expressionist films in China,where,although it had sprouted,it had not yet converged into a trend.