「孤島」電影批評研究（1937-1941）

Abstract

「孤島」時期（1937-1941）的上海，電影斡旋於商業、藝術和政治三者的複雜牽扯中，折射出戰爭語境下，市民娛樂與精英審美、消費市場與民族主義等多重權力話語之間的拉扯。本論文以皮埃爾·布爾迪厄(Pierre Bourdieu)的文化場域(cultural field)為研究方法，結合「虛構」（fiction）文本對現實的回應，通過對「孤島」內電影與電影批評的文本細讀，來嘗試建構「孤島」的電影場域。 其中，我將重點討論國產古裝電影《木蘭從軍》（1939年上映）與好萊塢電影《亂世佳人》（1940年上映）及它們的批評。除了探究影片內時間與空間呼應外部社會現實所作的隱晦表達，我亦以場域內不同聲音對於熒幕中女性角色形象的批評為視角，來呈現不同權力話語之間的角逐與爭奪。

From Nov. 12, 1937 to Dec. 8, 1941, the so-called 'isolated island' (孤島) period, films were involved in a complex mix of commerce, art and politics. It reflected the pull between the entertainment of citizens and the aesthetic taste of elites, consumerism and nationalism in the context of war. This paper takes the concept of Pierre Bourdieu's “cultural field” as a research method, combines the response of fiction text to reality, and tries to construct an 'isolated island' movie field by carefully reading the texts of film and film criticism. Among them, I will focus on two movies, A Woman Warror (木蘭從軍, 1939) and Gone with the Wind (亂世佳人, 1940), and their criticism. In addition to exploring the obscure expression of time and space in the film in response to the external social reality, I will also examine the views of different voices on the image of female roles on the screen in order to present the competition between different power discourses.