「滑稽大王」在中國：上海報刊中的卓別林明星形象，1914-1929

"The King of Comedy"in China: Charlie Chaplin's Star Image in Shanghai Newspapers and Film Magazines, 1914-1929

陳慧縈(Hui-Ying Chen)

指導教授 ： 趙綺娜

國立臺灣大學/文學院/歷史學研究所/碩士(2010年)

https://doi.org/10.6342/NTU.2010.03077

摘要

本論文旨在探討1914年至1929年間，上海報刊有關卓別林電影廣告與新聞報導評論所呈現卓別林明星形象之意涵，以及卓別林與其電影對上海社會、中國電影發展與文化層面的影響。1914年至1929年間，卓別林在上海擁有「滑稽大王」的封號，因此本論文以此為切入點，探討其明星形象建構歷程。明星形象主要由「銀幕人格」與真實人格兩部分組成，從1910年代起，上海報紙開始報導評論卓別林的電影，以及他在銀幕下的平日作息等生活情況。此一兼顧卓別林「銀幕人格」與真實人格的報導方式，不僅有助於上海觀眾認識卓別林及其作品，也對1920年代上海觀眾評價卓別林，並建構其明星形象產生影響。1920年代以後，上海報刊對於卓別林「銀幕人格」與真實性格有更完整而深入的報導評析。上海影評人強調卓別林身兼編、導、演全才，其電影作品寓意深刻，具藝術性，乃其真實人生經歷的心血結晶，從而建構出他多元豐富的明星形象，深植上海觀眾心中，是另一位同封為「滑稽大王」的明星勞德無法望其項背的。
卓別林的明星形象對於1920年代的上海社會產生重要的影響。他的「銀幕人格」是中國早期國產喜劇電影的靈感來源，其電影作品與所發表的相關言論，也成為上海影業界反思中國電影業發展的重要參考與依據。另一方面，卓別林的明星形象常被引為商品廣告，甚至一度成為中國國產香烟廣告的主角，顯見他的明星形象廣為上海民眾所接受，在日常生活產生影響。簡言之，就跨國歷史文化的角度而言，卓別林明星形象及其電影作品，可說是1910年代至1920年代間中國電影文化資產的一部分，也是促進中美文化交流重要的明星人物與媒介，有其相當的歷史價值與意義。

關鍵字

卓別林 ； 滑稽大王 ； 明星形象 ； 銀幕人格 ； 真實人格

並列摘要

This study focuses on Charlie Chaplin’s star image in Shanghai newspapers and film magazines from 1914 to 1929, and his influences on Shanghai’s society, movie industry and popular culture. This thesis bases itself on Chaplin’s image as “The King of Comedy” in Shanghai during this period to explore the construction of Chaplin’s star image. Star image is composed of two essential elements: picture personality and real personality. It is not until the late 1910s that Shanghai newspapers started reviewing Chaplin’s films and reporting his real daily life beyond the screen. These articles not only made Shanghai audiences acquainted with Chaplin and his works, but shaped the Shanghai people’s evaluation toward Chaplin and also helped construct his star image thereafter. In the 1920s, Shanghai critics reported on Chaplin’s picture and real personalities more completely. They emphasized Chaplin’s ability to write, direct, and star in his own films, and praised his works for having profound meanings and being film art. Also, his real life crystallized in his films. These reviews constructed Chaplin’s multifarious star image, imprinted in Shanghai audiences, an achievement which Harold Lloyd, also dubbed “The King of Comedy,” failed to duplicate.
Chaplin’s star image had great impacts on the 1920 Shanghai society. His picture personality inspired early Chinese comedy films; his works and statements related to the movie industry set high standards for and influenced the development of Chinese movie industry. Moreover, Chaplin’s star image appeared in advertisements for Chinese-made products, for instance, the advertisement promoted by Nanyang Brothers Tobacco Company. In this way, he even entered into Shanghai people’s daily life. In a word, Chaplin’s star image and his works had become part of the legacy from which Chinese films have appropriated in the 1910s and the 1920s. Furthermore, they were a significant media to facilitate Sino-American cultural exchanges.

並列關鍵字

Charlie Chaplin ； The King of Comedy ； picture personality ； real personality

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