新中国银幕上的经典女性形象有很多,但是如果引入＂社会主义的信仰表达＂问题,那么我们就会看到,当电影艺术家在涉及＂非现世的世界＂的时候,怎样处理这个可被表述为＂封建迷信的世界＂,不同的艺术家将会选择不同的态度;不同时代的艺术家也会选择不同的态度。本文选取《白毛女》《祝福》和《李双双》三个创作于新中国17年时期的影片,借助这些影片对喜儿、祥林嫂和李双双三个女性形象的塑造,试图证实以下判断：存在于不同艺术家个体和时代之间的关于信仰表达问题的差异,经过历史的流变,到1958年以后,那种被称之为封建迷信的＂信仰＂,将会被另一种社会主义的乌托邦,或说是共产主义信仰完全代替。在我们看来,社会主义乌托邦,也是关乎＂另一个世界＂的想象,是中国社会主义革命和共产主义运动的真实经验在现实生活和艺术创作中的双重显现。%For the issue of ＂expression of the belief of socialist China＂,Chinese artists differ in their attitudes to treating the ＂unrealistic world＂ described as a ＂world of feudal superstition＂.This paper selects the three artistic female images： Xier,Sister of Xianglin and Li Shuangshuang,taken respectively from three different films made during the first 17 years after the founding of new China.Based on the portrayals of the three female characters in these films,the paper attempts to testify the following hypothesis： The difference between artistic individuals and specific historical periods in expressing the belief went through a historical deformation.Since 1958,the ＂belief＂ stated as feudal superstition was to be completely substituted with a socialist utopia,or rather,a communist belief.To us,the socialist utopia was also imagination of ＂the other world＂,which is a double representation of realistic experience of Chinese socialist revolution and communist movement in realistic life and artistic production.
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