传记电影的时效性——以《血沃中华》和《可爱的中国》为中心

The Historicality of Film Biography:Case Studies of Shedding Blood for China and Lovely China

方志敏在中国犹如一个不灭的灵魂,时常在各类文艺作品中复活。20世纪'十七年'时期创作了电影剧本《方志敏》,但由于各种原因一直没有成功拍摄。'文化大革命'后不久的《血沃中华》(1980年)和新世纪的《可爱的中国》(2008)是目前完成且仅有的两部方志敏传记电影。这证明了一个事实:在特定的历史时期,某些人禁止被观看,某些人被允许观看,甚至可以被反复观看。两部方志敏传记影像的彼此差异,尤其是一个着重批判党内斗争历史,一个着重歌颂清贫廉洁精神,说明了传记电影都是制作之时主流政治催生的产物,具有一种时效性特征。

Fang Zhimin, the revolutionary stays lively in a variety of Chinese literary works, as an immortal soul in China. Produced in the period from 1949 to 1966, the screenplay 'The Biography of Fang Zhimin' for some reasons failed to be filmed. The only two biopics of Fang Zhimin are Shedding Blood for China(1980), shortly after the Cultural Revolution, and Lovely China(2008),which proves a fact that during a certain period,some viewers are forbidden, while others are allowed to be watched, even repeatedly. The significant difference between the two biographical movies,one focusing on criticizing the internal rifts within the party, and the other on praising the lofty spirit and integrity, demonstrates that film biography is the product of contemporary mainstream ideology, featuring the historicality on the part of the viewers.