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|Title:||1930 年代的中国软性电影之争 ：以《化身姑娘》为例 = The soft film debate in 1930 : case study of “Tomboy”||Authors:||戴嘉慧 Tai, Jia Hui||Keywords:||DRNTU::Humanities||Issue Date:||2017||Abstract:||本文旨在探讨 30 年代有关软性电影的争论。艺华影业公司作为软性电影实践的大本营，共创作了 19 部软性电影。《化身姑娘》是当时最卖座的软性电影，黄嘉谟和方沛霖分别担任了《化身姑娘》的编剧与导演一职。电影讲述在新加坡长大的主人公，为了满足长辈期望而不得不女扮男装回上海尽孝，最终被识破的故事。本文将以《化身姑娘》为例，讨论争议的实质。软性电影论的出现引起了左翼电影分子的强烈反弹，在上海报刊上引起了一场笔战。这场争论始于 1933 年，不但为当时的电影评述带来了全新的面貌，也推动了中国电影发展。本文研究目的有三，即探讨争论实质、软性电影的实践，和软性电影与都市文化。研究聚焦三十年代的声色上海，通过对第一手资料的整理，检视始于 1933 年的争论，并以软性电影《化身姑娘》为例，分析其争议性及酷儿性质。本文将通过从较为后设的立场解读文本与社会之间的互文阐述争论的实质与意义。This article aims to discuss the debate of the soft films in the 1930s. The Yihua Film Company as a base for soft film productions produced a total of 19 soft films. Amongst these films, “Tomboy” was the most famous –with Huang Jiamo as the screenwriter and Fang Peilin as the director. The film attracted controversy due to its unorthodox storyline, particularly when the female lead had to disguise as a man. This article discusses the essence of the soft film debate through the case study of “Tomboy”. The concept of „soft film‟ first appeared in 1933. This new concept in the film industry sparked debates among movie commentators in that era. However, it had marked a new phase and also promoted the development of china film. There are three objectives in the article. There are to explore the debate, the soft film practice and the urban culture. The backdrop is Shanghai in 30s. By sort out the first hand information of the debate, this article analyse the controversial and queer gender through the case study of “Tomboy”. This article provide a new position for the intertextuality between text and society.||URI:||http://hdl.handle.net/10356/69652||Rights:||Nanyang Technological University||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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