摘要
美工出身的导演方沛霖,在执导了《化身姑娘》《武则天》《银枪盗》等不同类型电影后,转而投向其热爱的歌舞片的创作中。从1930年代末开始共创作了9部歌舞片,其中沦陷时期有5部,歌舞片的创作为其赢得了"歌舞片权威导演"的声誉。本文通过梳理《凌波仙子》和《万紫千红》两部歌舞片创作与放映的过程,认为方沛霖在上海沦陷时期通过歌舞片的创作,完成了从"破坏"到"建设"的隐喻书写;隐藏在商业类型电影"妖艳繁华"背后的是作者对和平的现实主义追求和呼吁。对上海沦陷时期歌舞片的内涵意义进行更加深入细致的解读,将其对于和平的隐喻书写考量在内,有助于当下更多类型电影的创作。
Fang Peilin, acting as an art designer originally, turned to creating his favorite musical films after directing some different types of films, such as Hua Shen Gu Niang, Wu Zetian, Yin Qiang Dao. Nine musical films had been created since the late 1930s, including five ones in the occupation period, which won the reputation of ＂authority director of musical films＂. By sorting out the process of creation and release of Ling Bo Xian Zi and Wan Zi Qian Hong, the author argues that Fang Peilin finished the metaphor writing from ＂destruction＂ to ＂construction＂ by creating the musical films in the occupation period. What was hidden in the ＂flamboyant prosperity＂ of commercial films was the pursuit of and call for the peaceful realism. Interpreting the connotation of musical films in the period of Shanghai＇s occupation deeply, that is, considering the metaphor writing of peace, helps the present creation of more films.
作者
康文钟
KANG Wenzhong(Graduate Faculty,Shanghai Theatre Academy,Shanghai 200040,China)
出处
《鲁东大学学报（哲学社会科学版）》
2018年第6期26-31,共6页
Ludong University Journal:Philosophy and Social Sciences Edition
关键词
方沛霖
歌舞片
《凌波仙子》
《万紫千红》
家国意识
隐喻书写
Fang Peilin
musical film
Ling Bo Xian Zi
Wan Zi Qian Hong
national consciousness
metaphor writing
