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文艺理论研究

文艺理论研究 ›› 2017, Vol. 37 ›› Issue (5): 180-192.

• 西方文论研究 • 上一篇    下一篇

一个革命样板戏的重新包装：徐克《智取威虎山》中的政治与商业

韩莉   

  1. 美国罗德学院现代语言与文学系
  • 出版日期:2017-09-25 发布日期:2018-10-17
  • 作者简介:韩莉，现为美国罗德学院现代语言与文学系的中国文学副教授。主要研究兴趣为明清物质文化以及当代中国电影。部分论文发表于Concentric：Literary and Cultural Studies，Asia Major，Ming Studies，Journal of American Orientation Studies，ASIA Network Exchange，Traditional Dwellings and Settlement Review，Journal of Curatorial Studies and Asian Cinema.

Re-packaging a Cultural Revolution Model Opera: Politics and Commerce in Tsui Hark's The Taking of Tiger Mountain

Han Li   

  1. Department of Modern Languages and Literatures at Rhodes College in Memphis, Tennessee
  • Online:2017-09-25 Published:2018-10-17
  • About author:Han Li is Associate Professor of Chinese in the Department of Modern Languages and Literatures at Rhodes College in Memphis, Tennessee. Her research interests include classical Chinese novels in the 17th century, material culture in late imperial China and contemporary Chinese cinema. She has published in journals including Concentric:Literary and Cultural Studies, Asia Major, Ming Studies, Journal of American Orientation Studies, ASIA Network Exchange, Traditional Dwellings and Settlement Review, Journal of Curatorial Studies and Asian Cinema.

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摘要： 徐克2014年的剧情动作片《智取威虎山》是一个研读文革作品在当代语境中的重新浮现，以及该重现与爆发式发展的大陆电影工业之间互动的独特文本。首先考查近年来国家关于电影在文化产业中战略位置的政治话语。通过将徐克的《智取威虎山》文本在国家不断更新的宣传策略和实践中观看，讨论这部作品是如何参与了千禧后文化产业对红色资源和“主旋律”因素多样应用。其次，本文细读徐克电影对于样板戏文本在除“商业美化”之外的意识形态和美学改造。通过讨论电影中两位主人公Jimmy和杨子荣的人物塑造，以探讨该电影文本中潜藏的一项矛盾——一方面，电影所传达的意识价值和国家“回归”革命传统号召产生“共谋”，另一方面，此“共谋”又被电影中革命叙述和其他文本传统的杂糅所消解。作为一部在新千年由文革样板戏重新包装成的“准主旋律电影”，徐克的商业大片不仅提供了一扇观察政治和商业如何与急剧变化中的大陆电影产业互动的窗口，也愈加凸显了香港导演在回归后“大陆-香港”电影产业此消彼长中的困境。

关键词: 主旋律电影, 《智取威虎山》, 样板戏, 红色资源, 徐克

Abstract: Tsui Hark's The Taking of Tiger Mountain (Zhiqu weihu shan, 2014) presents an unique text to examine the ramification of the Cultural Revolution in contemporary China and its interplay with the explosive growth of the mainland film industry in the global context. First of all, examined herein is the CCP's discourse on the role of cinema in its cultural enterprise plan in recent years. By situating The Taking of Tiger Mountain in the state's refreshed propaganda campaigns, the paper demonstrates how this work participates in the continuing exploration of new possibilities for the "main melody" elements. Secondly, conducted here is a close reading of the ideological and aesthetic modifications done to the Maoist model work in addition to the commercially appealing makeups. The discussion of the characterization of two heroes in the film, Jimmy and Yang Zirong, seeks to demonstrate an embedded ambivalence in the film — its looming conspiracy with the state's advocacy for a "homecoming" to the revolutionary tradition and a simultaneous discontent through infusing the revolutionary narrative with hybrid references to the homegrown folklore and Hong Kong-trademarked gangster genre. Re-packaging a Cultural Revolution model opera into a quasi — "main melody" film in the new millennium, Tsui Hark's blockbuster sheds new light on the rigorous interplay between the politics and commerce within the grand restructuring of the mainland film industry as Hong Kong directors' ever-deepening predicament with it since the return.

Key words: "main melody" film, The Taking of Tiger Mountain, model opera, red resources, Tsui Hark