漫云女子不英雄:秋瑾传记片研究及其理论问题

Dare not Say Women Are Not Heroes: Biographic Films on Qiu Jin and Biopic Theories

本文是对秋瑾传记片的一个系统研究,从早期民国电影,到1950年代香港出品的《秋瑾》,1972年台湾的《惊天动地》,1980年代谢晋的版本,直到最近新拍的《竞雄女侠秋瑾》。论文的切入点是为什么秋瑾——这位晚清革命志士,也是中国最早的女权斗士、文武兼备的女侠——成为中国现当代电影史上被改编最多的女性人物?人物本身的丰富性和特殊性使其不断被历史、文学、影视和日常话语不断建构和解构,让对秋瑾个体和她经历的书写与表征成为一种'超文典'(hyper-canon)。本文核心观点是,秋瑾一再被搬上银幕,不仅是人物本身的跌宕灵活、生命启发和革命精神,更反映出中国传记片模式的变化和传记叙述的演进。从1950年代到2011年,女性与革命,文戏武斗,家庭情节剧和合拍商业化等传记话语和模式深刻影响了秋瑾的银幕形象。通过历时性和理论化的分析,本文也希望通过一系列的秋瑾传记片来总结和展望中国传记电影的一些规律和前景。

This paper initiates a systematic study on film biographies on Qiu Jin, the first modern feminist in China who died for the cause of national salvation in the last years of Qing Dynasty. A wide spectrum of biographic films on Qiu, from the late Republican era to the most recent adaptation in 2011, demonstrates the complexity and empowerment of Qiu as well as the enduring interest in her in the history of Chinese film. The paper first explicates why Qiu Jin has become the most adapted figure in Greater China. In addition to Qiu’s characteristics and the uncanny history with which she had been involved, the filming of her and her multi-faceted life has fostered into a 'hyper-canon—a canonical text that has continuously been edited, adapted, rectified, and rediscovered due to its ambiguity, complexity, polysemy, and even self-contradiction. The various films on Qiu Jin have also revealed different biographic modes and narratives such as femininity and revolution, wen and wu, family melodrama and commercialization in China's Mainland, Taiwan, and Hong Kong. By engaging with these films and related theories, I also hope to carve out the outlines and prospects of Chinese biographic genre.