中国电影批评史上的张恨水

从电影理论和电影史的角度出发审视中国电影批评，已经成为重写电影史的重要组成部分。尽管“鸳鸯蝴蝶派”在电影批评史中占据着重要地位，但当前研究对象主要聚焦于上海的代表人物周瘦鹃等，而对于北京的代表人物张恨水的研究相对较少。为了避免电影批评史狭隘地限定在“上海电影批评史”范畴内，有必要深入研究张恨水的电影批评。尽管张恨水是一位广为人知的通俗文学作家，目前的研究更多关注于电影叙事模式和剪辑手法对他小说创作的影响，而较少涉及他的电影批评。通过对他的电影批评的深入分析可以发现，张恨水并非电影的“门外汉”，而是在社会功能、艺术表现、技术制作和市场营销等方面拥有深刻的见解。张恨水的电影批评是“鸳鸯蝴蝶派”电影批评的重要组成部分，但在思维、视角和意识等方面与上海的“鸳鸯蝴蝶派”存在一定差异。这种差异正好突显了早期中国电影的多元共生和丰富繁荣，表明中国电影并非单一受益于某一思想的影响;相反，它是在不同观点和审美标准相互平衡和影响的情况下形成的。对张恨水的电影批评进行深入分析，有助于打破以上海为中心的传统电影史书写框架，重新解读“鸳鸯蝴蝶派”电影批评的文化价值，为理解早期中国电影生态的多元性和丰富性提供新的视角。

Zhang Henshui in the history of Chinese film criticism

Based on the film theory and film history to examine Chinese film criticism has become an important component of rewriting film history. Although the Mandarin Duck and Butterfly School holds an important position in the history of film criticism, the current research mainly focuses on representative figures such as Zhou Shoujuan in Shanghai, while there is relatively little research on representative figures such as Zhang Henshui in Beijing. In order to avoid the narrow limitation of film criticism history within the scope of “Shanghai Film Criticism History”, it is necessary to conduct in-depth research on Zhang Henshui’s film criticism. Zhang Henshui, a well-known popular literary writer, has garnered attention in current research not only for his literary works but also for the influence of film narrative modes and editing techniques on his novel writing. However, there is limited focus on his contributions to film criticism. Analysis of his film criticism reveals that he is not an outsider to the world of cinema. Instead, he possesses profound insights into the societal functions, artistic expressions, technical production, and market strategies associated with filmmaking. Zhang Henshui’s film criticism is an integral part of the Mandarin Ducks and Butterflies School of film criticism. However, there are notable differences in terms of thinking, perspective, and consciousness when compared to the Mandarin Ducks and Butterflies School in Shanghai. These variations in the cinematic ideologies of the two schools underscore the fact that early Chinese cinema was not solely influenced by a single school of thought. On the contrary, it emerged as a diverse, symbiotic, and flourishing ecosystem shaped by the mutual balance and influence of different viewpoints and aesthetic standards. Analyzing Zhang Henshui’s film criticism contributes to breaking away from the traditional framework centered around Shanghai in the writing of Chinese film history. This, in turn, allows for a reevaluation of the cultural value of the Mandarin Ducks and Butterflies School film criticism from a regional perspective beyond Shanghai. Such an approach provides evidence for the reexamination and rewriting of the history of Chinese film criticism.