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中南大学学报(社会科学版)
ZHONGNAN DAXUE XUEBAO(SHEHUI KEXUE BAN)

2016年06月第22卷第3期
   
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文章编号:1672-3104(2016)03-0190-06
 
从新修复的《恋爱与义务》重探1930年代早期电影的多义性
 
王大可
 
(上海交通大学媒体与设计学院,上海,200240)
 
摘  要: 论及1930年代的早期电影,往往会受制于“启蒙”与“商业”、“精英”与“大众”的二元框架。通过回到“国片复兴”诉求下《恋爱与义务》从小说改编到影片制作的一系列历史现场,试图揭开这一框架下被遮蔽的多重意义空间。在二三十年代个人解放话语方兴未艾之时,《恋爱与义务》独特地将“走出家庭”与“重建家庭”并置讲述,在日常现实情境中同情地呈现恋爱与婚姻、激情与义务的两难冲突,通过阮玲玉等优秀演员的精彩演绎,一种具有现代爱情观念与家庭观念的“新人”形象呼之欲出。
 
关键词: 《恋爱与义务》;30年代早期中国电影;爱情;家庭
 
 
Research on the polysemy of early Chinese films in the 1930s seen from the newly-adapted Love and Duty
 
WANG Dake
 
(School of Media and Design, Shanghai Jiaotong University, Shanghai 200240, China)
 
Abstract: When it comes to early Chinese films in the 1930s, opinions are divided into binary framework between the enlightment and the commercial, or the elite and the popular. By analyzing the film Love and Duty and by recalling the historical background of reviving national films, the present essay means to uncover the multiple meanings of the early films in the 1930s. The film Duty and Love uniquely juxposes the two narratives of going out of the family and of reconstructing the family, reveals the dilemma between love and marriage, passion and duty in the context of everyday life, and characterizes a “New Image” with modern concepts of love and family seen from such superstars as Yuan Lingyu.
 
Key words: Love and Duty; early films in the 1930s; love; family
 
 
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