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在1949—1952年这个短暂的公私并存的转折期,文华影业公司曾最大程度调用资源完成了一部“影片巨制”《腐蚀》,却在影片上映一个月左右被叫停。《腐蚀》没带给“文华”起死回生重现辉煌的一页。读解《腐蚀》及这一时期民营的电影,最大障碍是不得不首先剥离浮在其表面的意识形态噪音,而它们恰恰是很长一段时间里,评价这些电影的出发点。本文试图揭开《腐朽》文本内外的“革命话语”对于当年私营电影的生产机制、流通机制与叙事机制的折戟与磨洗,面对1949年这一外部时间,考察私人的生存与表述在导入粗暴而单一的“革命话语体系”中面临的艰难和复杂的叙事局面。所以穿越覆盖在影片文本上的时代涂层实嫌落笔冗长,也不过是为《腐蚀》这样一批应该得到更多关注的作品做的一点解毒工作而已。
In 1949-1952, a transitory period of public-private coexistence, the company had made the most of its resources to complete a “film giant” and “corrosion,” but was halted for about a month after its release. “Corrosion” did not bring “Wen Hua ” back to life to reproduce a brilliant page. The biggest obstacle to reading “Corruption” and the private films of this period was that they had to first strip away the ideological noise that floated on their surface, and they were exactly the starting point for evaluating these movies for a long time. This article attempts to uncover the “revolutionary discourse” both inside and outside of the “decadent” text. For the private film’s production mechanism, circulation mechanism and narrative mechanism, It expresses the difficult and complex narrative situation in the introduction of the crude and sole “revolutionary discourse system.” So crossing the length of time covered in the text of the film is too lengthy, but a mere detoxification of the corrupting work that deserves more attention.