论80年代“革命现实主义”电影批评的消解

发布时间：2018-03-12 11:28

本文选题：电影批评　切入点：“革命现实主义”　出处：《上海大学》2013年博士论文　论文类型：学位论文

【摘要】：无论是建国初批评界讨论的“革命现实主义”还是随后从苏联引进的社会主义现实主义，抑或后来提倡的革命现实主义与革命浪漫主义两结合的创作方法，这些不同的提法都是把革命、阶级斗争等政治话语强加给“现实主义”，让电影逐步服从政治权力的控制。因此，本文将这些不同提法统称为“革命现实主义”。这种“革命现实主义”电影及电影批评经过半个多世纪的发展，负载了过重的意识形态内容，并逐步异化成了一种独尊的创作方法和批评原则。改革开放之后，电影批评围绕着如何去除“革命现实主义”所负载的过重意识形态展开了激烈讨论。可以说，80年代的电影批评史就是“革命现实主义”受到围剿而逐渐丧失其霸权地位的过程。本文对这一消解过程进行了具体分析和研究。从总体上说，“革命现实主义”电影批评在80年代的消解大致可以分为三个阶段：第一阶段70年代末到80年代初，当时电影批评仍然笼罩在革命话语之下，在思想解放运动的引导下，电影批评界试图挣脱政治权力对电影创作与电影批评的规训，于是，电影批评者对“革命现实主义”电影批评进行了重建与现代化改造。这一努力主要从两个方面进行：一是从传统的现实主义理论资源内部对“革命现实主义”进行重构，以启蒙为主的电影批评试图颠覆真实性、倾向性、典型性三者之间的等级秩序来重新定义现实主义，由此导致了社会主义现实主义与批判现实主义之间出现了激烈的话语冲突。二是从现实主义理论资源的外部入手，即引入纪实美学、“现代派”、“非戏剧化”等西方电影理论资源，对电影创作进行形式上的现代化改造。纪实美学在中国的传播一方面是电影批评者试图通过确立真实性对于倾向性的优先地位，来达到去意识形态化的目的，另一方面也通过长镜头理论来突破蒙太奇的专制。同样，对西方“现代派”与“非戏剧化”等理论资源的启用，也是以启蒙为核心的电影批评试图通过表现形式的创新来打碎僵化单一的意识形态，从而达到颠覆革命话语与权力秩序的目的。总之，“新时期”对“革命现实主义”的重构与改造，其实质是启蒙思潮影响下电影批评者的政治诉求在电影批评中的隐性表达。第二阶段出现在80年代中期，如果说“新时期”初对“革命现实主义”的重构与现代化改造，仍然是以承认“革命现实主义”在电影创作和电影批评中的权威地位为前提的话，那么，随着第五代电影的崛起，，“革命现实主义”电影批评遭遇到了前所未有的危机。第五代电影以影像美学彻底打破了“革命现实主义”电影的传统，被作为现代电影而备受推崇，但对“革命现实主义”电影成规的突破,也使得“革命现实主义”电影批评很难对第五代电影作出有效的解读。于是影像批评以及西方“宏大理论”批评等多种批评方法纷纷出现。在当时激进的文化讨论中，第五代电影因打破传统而广受赞誉，而谢晋电影则由于对传统伦理价值的维护与对“革命现实主义”电影传统的继承而受到了过分的冲击。不过，需要肯定的是，围绕着第五代与谢晋电影模式而展开的电影批评浪潮实现了电影批评方法的更新，为电影批评界注入了不少生机和活力，各种新批评方法的涌现打破了“革命现实主义”电影批评一统天下的局面，开启了中国电影批评多元化的格局。第三阶段发生在80年代后期，在为娱乐片正名的讨论中，电影批评界实现了对电影娱乐功能的重新认识，这在一定程度上瓦解了中国电影中一贯以来的“文以载道”的精神，将教化功能从电影中松绑，同时也为中国电影的商业化、市场化铺平了道路。可以说，正是在启蒙话语与商业话语的前后夹击之下，雄踞中国影坛半个多世纪的“革命现实主义”电影批评最终消解在中国电影的商业化与市场化的大潮之中。
[Abstract]:Whether it is the beginning of the founding of the critics discussed the "revolutionary realism" was subsequently introduced from Soviet Socialist Realism, or revolutionary realism and revolutionary romanticism later advocated the combination of two creation method, these different formulations are the revolution, class struggle and political discourse on "realism", make the film control obey the political power gradually. Therefore, the different formulation called "revolutionary realism".
This "revolutionary realism" film and film criticism after half a century of development, the ideological content of the heavy load, and gradually become a creative method and the principle of criticism. Only after the reform and opening up, film criticism around how to remove the "revolutionary realism" of the ideology of a fierce heavy load discussion. It can be said that the 80s film criticism is the history of the "revolutionary realism" by encirclement and lose its hegemony. This paper made a concrete analysis and study of the digestion process. Generally speaking, the "revolutionary realism" of film criticism in the 80s resolution can be roughly divided into three stages:
The first stage in late 70s to early 80s, when the film criticism is still shrouded in the revolutionary discourse, in the ideological liberation movement under the guidance of the film critics tried to break away from the political power of film creation and film criticism discipline, so the film critics of the "revolutionary realism" of film criticism for the reconstruction and modernization of the transformation. Efforts mainly from two aspects: one is to reconstruct the "revolutionary realism" from traditional realism theory of internal resources, with the enlightenment based film criticism trying to subvert the authenticity and tendentiousness, between the typical three order to redefine the realism, which resulted in the emergence of the fierce conflict discourse between socialist realism and critical realism. The two is from the external resources of realism theory, namely the introduction of documentary aesthetics, "modern", "non play Drama "western film theory, modernization form of film creation. In the China propagation of documentary aesthetics is a film critics by trying to establish the truth for priority orientation, to achieve the purpose of ideology, on the other hand is to break through the long shot theory of autocratic montage. Similarly, enable to western" modern "and" non dramatic "theory of resources, but also to the enlightenment as the core of the innovation of film criticism attempts to form to break the single rigid ideology, to subvert the revolutionary discourse and power order. In short, the" new era "of the" revolutionary realism "the reconstruction and transformation, its essence is the implicit expression of enlightenment to influence the political appeal of film critics in the film criticism.
The second stage in the middle of 80s, if the "new period" at the beginning of the "revolutionary realism" reconstruction and modernization, is still to a position of authority that the "revolutionary realism" in the creation of the film and film criticism in the premise, then, with the rise of the fifth generation films, "revolutionary realism" film criticism encounters hitherto unknown crisis. The fifth generation film to completely break the aesthetic image of the "revolutionary realism" films, has been touted as a modern movie, but the "revolutionary realism" film conventions breakthrough, but also makes the "revolutionary realism" film criticism is difficult to make an effective interpretation of the fifth generation film. So the image criticism and the western "grand theory" criticism and other criticism methods have emerged. In the discussion at the time of radical culture, the fifth generation film by breaking the traditional Praised and Xie Jin film due to the traditional ethics value maintenance and inheritance of "revolutionary realism" movie tradition by too much impact. However, to be sure, around the fifth generation and the Xie Jin movie mode and launched a wave of criticism in film film criticism method update. A lot of vigor and vitality for Film Critics, the emergence of various new critical methods to break the "revolutionary realism" of film criticism domination, opened the Chinese film criticism pattern of diversification.
The third stage occurred in the late 80s, in the discussion for entertainment name, film critics realize the re understanding of the film and entertainment function, which to some extent, the collapse of the Chinese film has always been the "Writings are for conveying truth." spirit, relaxed education function from the film, but also for China movie commercialization that paved the way for the market. It can be said that it is in front of enlightenment discourse and commercial discourse under attack in the China film more than half a century of "revolutionary realism" in the final film criticism Chinese digestion film commercialization and marketization of the tide.

【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J909.2

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