漢語方言電影美學演進史

The Evolution of Chinese Dialect Film Aesthetics

袁海濤(Yuan, Hai-Tao)

《南藝學報》 21期 (2020/12) Pp. 121-145

摘要

曾經被邊緣化的方言電影，近年來在在類型和票房上都有新的突破。在此背景下，我梳理了1930年代以來的方言電影的美學發展歷程，把它大致歸納為五個階段。30年代戲曲改編方言電影是起源；50－60年代官話方言的誕生和滑稽戲改編方言電影促進其發展；80-90年代寫實主義方言電影是新探索；2000年以後荒誕方言電影是新形式；2015年詩意方言電影的誕生，豐富其個性表達。研究發現，不同時期的方言電影具有不同的歷史任務及其美學特徵。曾經被視為底層的、邊緣的方言逐漸走向主流，走向詩意的個性表達，方言與方言電影的地位得到提升。本文主要探討大陸境內漢語方言電影的美學發展歷程，境外如香港，臺灣以及東南亞等華語地區，不在本次討論範圍之內。

關鍵字

方言電影 ； 方言美學 ； 漢語方言 ； 方言電影史

並列摘要

In recent years, dialect films, once marginalized, have made new breakthroughs in both types and box-office. Under this background, the aesthetic development of dialect films was combed since the 1930s and was roughly summarized into five stages. The origin of the adapting opera to dialect films was in the 1930s, the birth of Mandarin dialect in the 1950s and adapted burlesque in the 1960s to dialect movies promoted its development; and realistic dialect films in the 1980s and 1990s were a new exploration. After 2000, the absurd dialect film became a new form; The birth of poetic dialect film in 2015 enriched its characteristics expression. It is found that dialect films in different periods bear different historical tasks and aesthetic characteristics. Dialects, once regarded as the bottom and marginal, gradually move towards the mainstream and poetic characteristics expression, and the status of dialects and dialect films has been promoted. This paper mainly discussed the aesthetic development of Chinese dialect films in mainland China, but overseas Chinese-speaking regions such as Hong Kong, Taiwan and Southeast Asia are beyond the scope of this discussion.

並列關鍵字

Dialect Film ； Dialect Aesthetics ； Chinese Dialects ； Dialect Film History