曲折中前行——作为政治策略的"孤岛"时期古装片

上海"孤岛"作为民族主义与殖民主义夹缝中的灰色地带,一直以来都被冠以了一种特殊而又暧昧的身份标识,对于彼时彼地的电影生产与传播而言,更是一道令人称奇的风景.作为一种政治策略,"孤岛"时期古装片以一种隐晦的方式将民族主义精神巧妙地融入文本内核中借古喻今以抒发爱国精神.这种文本实践方式依托于"孤岛"特殊的文化气候,是在商业与政治的合力下生发的,并且由于政治、阶级和身份的差异使得包括"左翼"知识分子、"孤岛"影人以及电影商人在内的古装片生产群体在表述这一政治策略时有着些许价值判断上的偏差,但最终这种多方合力下的政治策略成功地在电影叙事中建构起民族主体性,由此形成了一种"想象的虚构".

Moving Forward in Twists and Turns: Ancient Costume Film in the Period of Isolated-Island as a Political Strategy

As a gray area between nationalism and colonialism, the isolated-island of Shanghai has always been labeled with a special and ambiguous identity. For the production and dissemination of films at that time, it can be called a marvelous scenery. As a political strategy, costume film in the period of isolated-island cleverly integrates nationalist consciousness into the core of the text in an obscure way to express the patriotism of the past. This textual practice method relies on the special cultural climate of the island, which is born under the combined forces of business and politics. And due to differences in politics, class, and status, period film production groups including left-wing intellectuals, isolated-island filmmakers, and film merchants have a slight deviation in value judgment when expressing this political strategy. But in the end, this kind of political strategy under the joint efforts of multiple parties successfully constructed national subjectivity in the film narrative, thus forming a kind of imaginary fiction.