抗战语境下的民间、左翼与官方电影

摘要

In the imagined“anti-Fascist”community established by the Anti-Japanese National United Front,the three different sorts of movies,namely the folk,the Left( -wing),and the official,are not strongly fortified against one another,nor each fights one’s own battle,but with contradictions,conflicts and struggles,and,at the same time,with negotiations,interactions and interconnections among them. Their liquidity is mainly embodied in the following three aspects:The first is that the folk draw close to-wards,and work in concert with,the Left( -wing),and the official;the second is that the Left( -wing)try to win over and to cooperate with the folk and the official;and the third is that the official try to control and make use of the folk. Either from the perspective of their survival strategies,of from that of cinematic creation,Chinaˊs film-making during the War all reveals a liquidity and freedom of subjective choice.%在抗日民族统一战线所建构的“反法西斯”的想象共同体中，民间、左翼与官方三种电影力量并非壁垒森严、各自为战，他们之间有矛盾、有冲突、有斗争，也有协商、有互动、有耦合。其流动性主要表现在三个方面：一是民间对左翼与官方的靠拢与呼应；二是左翼对民间与官方的争取与协作；三是官方对于民间的管理与利用。无论在生存策略上，还是电影创作上，战时中国的电影创作都呈现出一种主体选择的流动性与自由性。