银幕之外:群众影评与谢晋电影的“交互式创作”

在当代中国电影导演谱系中，谢晋无疑占据着一个极为关键的位置。长期以来，学界对谢晋电影的研究已取得丰硕的成果，但“文本批评”与“美学阐释”的研究框架占据了一定的主导地位，鲜有对谢晋导演社会活动的关注。研究聚焦谢晋在20世纪80年代的一系列社会性活动，考察其与80年代普通电影观众、业余影评员以及群众影评组织间的交流和互动，发现了谢晋“交互式创作”的内在逻辑。一方面，聚焦谢晋社会活动家的身份，讨论其与群众影评浪潮的互渗，并在双方的交互进程中，推动了群众影评文化在20世纪80年代的文化建构;另一方面，群众影评通过对话、商榷等多元化的方式，积极参与对谢晋电影的评论，而且以“历史微声”的特点，介入到80年代“谢晋模式”的讨论谱系，建构出区别于电影知识分子的话语场域。更为关键的是，通过对群众影评的考察，发现“谢晋电影”的意义生产并非局限于“电影文本”，更多则呈现在银幕之外的社会文化范畴中，并成为透视文艺“人民性”的典型艺术实践。基于此，经由谢晋与群众影评的情感交互，我们试图开辟一条再次审视“谢晋电影”的民间通道，以期丰富、拓展目前学界对谢晋电影研究的疆界。

Beyond the screen: Mass film criticism and the “interactive creation” of Xie Jin’s films

In the lineage of contemporary Chinese film directors, Xie Jin undoubtedly occupies a crucial position. For a long time, the academic community has achieved fruitful results in the study of Xie Jin’s films, but the research framework of “text criticism” and “aesthetic interpretation” has occupied a certain dominant position, with little attention paid to the director’s social activities. This article focuses on a series of social activities of Xie Jin in the 1980s, examining his communication and interaction with ordinary film audiences, amateur film critics, and mass film review organizations in the 1980s, and discovering the inherent logic of Xie Jin’s “interactive creation”. On the one hand, focusing on Xie Jin’s identity as a social activist, it discusses his interaction with the wave of mass film reviews, and in the process of mutual interaction between the two sides, it promotes the cultural construction of mass film review culture in the 1980s. On the other hand, mass film reviews actively participate in commenting on Xie Jin’s films through diverse methods such as dialogue and discussion, and with the characteristics of “historical micro-voice”, they intervene in the discussion lineage of the “Xie Jin model” in the 1980s, constructing a discourse field distinct from film intellectuals. More importantly, through the examination of mass film reviews, it is found that the meaning production of “Xie Jin films” is not limited to “film texts”, but more often presents itself in the socio-cultural realm beyond the screen, and becomes a typical artistic practice that reveals the people-oriented nature of literature and art. Based on this, through the emotional interaction between Xie Jin and mass film reviews, we attempt to open up a folk channel to re-examine “Xie Jin films”, with a view to enriching and expanding the current academic research boundaries on Xie Jin’s films.