鸳鸯蝴蝶派与早期中国电影的本土化接受

鸳鸯蝴蝶派用小说化的艺术修辞手法书写电影人的寻常家事,通过制造心理共鸣和情感共振,为市民最终接受电影这一新的“媒介物种”铺平了道路。他们以电影人的悲欢离合为素材创作了不少小说,使公众熟悉了电影人物与各种电影空间,加深了观众和电影的情感联系。他们的电影评论从传统戏剧和文学艺术中吸取养分,是早期中国影戏理论的重要组成部分,既起到了启蒙教育观众的作用,也为中国电影本土化架构了理论基石。他们以报刊为载体,以评论、杂记为渠道,用合乎中国人审美心理的方式将电影引入人们熟悉的日常生活中,将电影这一冷冰冰的技术物件与公众可感知、可理解的身边事物、生活经历、社会交往融合起来,推动了早期中国电影的本土化。

Mandarin Duck and Butterfly School and the Localization Acceptance of Early Chinese Films

The mandarin duck butterfly school used fictional artistic rhetoric to write the ordinary family affairs of filmmakers. By creating psychological resonance and emotional resonance, it paved the way for the citizens to finally accept the film as a new "media species". They incorporated the film as the material and background into the novel, described the fictional story of the joy, anger and joys of the filmmaker, made the public familiar with the film characters and various film spaces,and deepened the emotional connection between the audience and the film. Their film reviews absorbed nutrients from traditional drama, literature and art,and formed an integral part of the early Chinese film theory. They not only played a role in enlightening the audience, but also built a theoretical foundation for the localization of Chinese films. They took newspapers and magazines as the carrier, comments and essays as the channel,and introduced films into people''s familiar daily life in a way consistent with the aesthetic psychology of Chinese people. They integrated the cold technical object of films with the things around the public that can be perceived and understood, life experience and social interaction, and promoted the localization of early Chinese films.