【作者】 陈晓；

【导师】 王育济；

【作者基本信息】 山东大学 ， 中国史（专门史）， 2024， 博士

【摘要】 郑正秋是中国电影筚路蓝缕的开拓者,是中国戏剧“甲寅中兴”的主推人,也是同时活跃于近代出版、戏剧、电影、文学、教育领域的跨界艺术家和知识分子。以郑正秋电影活动研究为论文选题,从人物史和电影文化史的视角,探究他分别作为戏剧人、电影创作者、理论批评家、企业家和教育家五重文化身份下的电影活动。突破以时间为轴的人物研究的限制,将其从事的电影活动为作论述中心,采用专题式的块状写作模式,重塑郑正秋在历史中的定位和其特有的多重文化身份。郑正秋电影活动研究需要先明确人物的历史定位与文化身份。在回顾郑正秋人生经历和重要事件的基础上,分别从出版史、戏剧史和电影史三个方面综合分析历史叙述中的郑正秋,看到其历史形象在不同时代的史述中发生着不同的变化。在文化身份研究的视阈下,结合郑正秋爱国主义、改良主张和启蒙教化的思想意识,明确他作为中国近代史中的跨界艺术家与第一代电影知识分子的文化身份定位。郑正秋参与电影活动之前曾长期从事戏剧活动。中国早期戏剧和电影发展在很多地方交叉混同,双方拥有辩证的美学关系。而郑正秋具有“戏剧人”和“电影人”的双重身份,两种艺术因素在他的艺术实践中互相影响,互为牵扯。从时间演进来看,他首先从传统戏曲入门,在从事职业戏曲评论的工作之中发现其弊病,在评论界积极倡导新剧改良。之后,亲自参与新剧的创作实践,开始编写新剧剧本、经营新剧剧团,但随着新剧从艺术观念到经营状况的逐渐衰落,郑正秋才将精力渐渐转移到电影事业上来,并延续着他戏剧生涯中积累的大量艺术理念和审美方式。郑正秋对中国戏剧的历史贡献主要集中于他的戏剧评论、剧本编演和组织剧社等方面,在总结其戏剧活动与电影活动之间的关系的基础上,说明戏剧作为“前史”对其电影活动的重要意义。郑正秋被誉为“中国电影之父”,是中国早期电影的拓荒者。作为创作者,他身兼编剧、导演、字幕撰写、监制等多重职位,创作了诸多中国电影史上里程碑式的作品。探讨郑正秋作为电影创作者的文化身份,以营业、观众与艺术三个关键词为核心,梳理其在电影创作方面艺术特色和历史贡献。首先概述郑正秋电影的创作活动,重新界定郑正秋电影创作活动的讨论范围,将其创作活动分成转型期、高潮期和探索期三个阶段。其次,探讨郑正秋电影创作的特点,分别从真善美的创作理念、家庭伦理和武侠神怪的类型片创作、与其长期工作的创作搭档和电影语言的风格特色四个方面进行阐释。一直以来,郑正秋电影创作者的身份广为人知,而他作为电影理论批评家的角色却常常处于隐没的状态。在电影创作中,郑正秋以影像构建自己对世界的认知,而在理论及影评写作中,他以文字抒写自己对电影的理解。以郑正秋作为电影理论批评者的文化身份为中心,探讨他在理论批评方面对中国电影史的影响。首先对其电影理论批评活动进行概述,总结了戏剧理论批评的延续、与创作实践相结合以及平实生动的语言风格的特点。其次,以影戏观、社会教化论和通俗艺术论为核心讨论郑正秋的电影理论;以良心主义、电影的民族性和电影的商业美学为标准梳理郑正秋的电影批评。挖掘郑正秋作为电影企业家的文化身份,不得不提到他与同人共同创办的明星公司。明星影片股份有限公司是中国近代民营电影公司的典型代表,它不仅是民国时代经营时间最长,生产影片数量最多的民营电影公司,而且制作了一批足以载入史册的电影作品,培养了一批优秀的电影专业人才,深刻地影响了早期中国电影的发展格局。明星公司寄托了郑正秋对中国电影事业的美好期冀,也成为他展现电影企业家管理与决策能力的舞台。首先,回溯了郑正秋创立明星影片公司之前的从业经历。其次,以明星影片公司为叙事中心,回顾了其从创立到危机再到重生的历史过程,以及郑正秋在其中发挥的重要作用,说明郑正秋在经营与管理团队中的核心地位。最后,以生产、管理和营销的三个角度重新审视郑正秋作为企业家的一面。电影教育和教育电影是郑正秋作为电影教育者这个文化身份中的有机组成部分。郑正秋是电影事业的先行者,以行业经验和知识储备进行的电影专业类教学活动,培养出胡蝶、宣景琳等著名电影演员,蔡楚生、沈西苓等第二代电影编导人才,深刻影响了夏衍等左翼影人。除了对从业者专业化的教育与指导,他还致力于对公众层面的电影知识的普及。此外,郑正秋电影秉承“文以载道”的传统,凭借“有主义”的教化电影和真善美的艺术观念获得了观众的欢迎和时代的认可。作为知行合一的电影教育者和第一代电影知识分子,郑正秋深知教育的重要意义,从影戏学校到电影片场,再到教育电影的官方组织,郑正秋用自己实践与探索,践行电影育人的理念。近代以来,在社会达尔文主义的影响下,寻求社会和文化变革的知识分子阶层普遍沉浸在精神焦虑中。作为第一代电影知识分子,郑正秋同样秉持疗救社会疾病的主观意识。由于遭受长期的疾病之苦与心灵之困,郑正秋相对于精英知识分子救国救民于水火的责任感,更多了一份同情心和同理心,在救亡图存的改良话语中,也不乏自我救赎的潜意识。以“身体”这个集象征与实际意义于一体的符号为切入点,从“病”与“药”这两个贯穿于郑正秋一生的意象为中心,探讨他作为新旧过渡时代的知识分子和跨界艺术家,其身体状况的变化不仅形塑了他对世界的认知、对社会的理解,进而影响他的艺术创作题材和风格,以及身处动荡的时代中意识形态的选择,从而能更加完整地呈现郑正秋复杂而多面的精神世界和内心纠葛。以郑正秋从事的电影活动为中心,在概念限定和问题意识的引导下,以其身份板块建构的形式而非单纯的线性时间线索来探寻其电影活动的历史脉络,在回环交叉、错综复杂的人物历史细节中重构历史叙述的多维视野。在新电影史和“重写电影史”思潮的影响下,通过挖掘、梳理、鉴别和整合有关郑正秋电影活动的相关史料,以实证的历史人物研究为方法,以微观视角还原中国早期电影的历史细节,重新书写郑正秋及其电影活动,重塑郑正秋作为第一代电影知识分子和跨界艺术家的历史定位和其特有的多重文化身份。希望能够为其他的影人研究提供更多研究思路,以期达到抛砖引玉的作用。更多还原

【Abstract】 Zheng Zhengqiu(January 25,1889-July 16,1935)was a pioneer of the fledgling Chinese film industry,a major contributor to the "Jia Yin Resurgence" in Chinese drama,and a cross-boundary artist and intellectual who was actively involved in modern publishing,drama,film,literature,and education.Taking the research on Zheng Zhengqiu’s film activities as a thesis topic,from the perspectives of character history and film cultural history,this paper explores his film activities under the five cultural identities of a dramatist,a film creator,a theoretical critic,an entrepreneur,and an educator.Breaking through the limitations of character research based on a chronological axis,taking his film activities as the focus of discussion,and adopting a special-topic-based block writing mode to reshape Zheng Zhengqiu’s positioning in history and his unique multiple cultural identities.The research on Zheng Zhengqiu’s film activities needs to first clarify the character’s historical positioning and cultural identity.Based on reviewing Zheng Zhengqiu’s life experiences and important events,Zheng Zhengqiu in historical narratives is comprehensively analyzed from three aspects:publishing history,drama history,and film history.It is observed that his historical image undergoes various changes in historical accounts of different times.Under the perspective of cultural identity research,combined with Zheng Zhengqiu’s ideological consciousness of patriotism,improvement propositions,and enlightenment education,his cultural identity positioning as a cross-boundary artist and the first-generation film intellectual in modern Chinese history is clarified.Before involving in film activities,Zheng Zhengqiu had been engaged in drama activities for a long time.The early development of drama and film in China intersected and mixed in many aspects,and the two had a dialectical aesthetic relationship.Moreover,Zheng Zhengqiu had the dual identities of a "dramatist" and a "filmmaker",and the two artistic factors influenced and interacted with each other in his artistic practice.From the perspective of time evolution,he first entered the traditional opera field,discovered its drawbacks during his work as a professional opera critic,and actively advocated the improvement of new drama in the critical circle.Later,he participated in the creative practice of new drama in person,began to write new drama scripts and manage new drama troupes.But as the new drama gradually declined from the artistic concept to the operating conditions,Zheng Zhengqiu gradually shifted his energy to the film industry and continued a large number of artistic concepts and aesthetic methods accumulated in his drama career.Zheng Zhengqiu’s historical contribution to Chinese drama mainly focused on his drama reviews,script writing and performance,and organization of drama clubs.On the basis of summarizing the relationship between his drama and film activities,it explains the significance of drama as a "pre-history" to his film activities.Zheng Zhengqiu is hailed as "The Father of Chinese Film" and was a pioneer of early Chinese films.As a creator,he held multiple positions such as screenwriter,director,caption writer,and supervisor,and created many landmark works in the history of Chinese films.To explore Zheng Zhengqiu’s cultural identity as a film creator,centered on the three keywords of business,audience,and art,his artistic features and historical contributions in film creation are sorted out.First,an overview of Zheng Zhengqiu’s film creation activities is provided,and the discussion scope of Zheng Zhengqiu’s film creation activities is redefined,dividing his creation activities into three stages:the transition period,the climax period,and the exploration period.Secondly,the characteristics of Zheng Zhengqiu’s film creation are discussed,which are explained from four aspects:the creative concept of truth,goodness and beauty,the creation of genre films such as family ethics and martial arts and fantasy,his long-term creative partners,and the style characteristics of film language.All along,Zheng Zhengqiu’s identity as a film creator has been widely known,while his role as a film theoretical critic has often been hidden.In film creation,Zheng Zhengqiu constructed his own cognition of the world through images,while in theory and film review writing,he expressed his understanding of films in words.Centered on Zheng Zhengqiu’s cultural identity as a film theoretical critic,his influence on Chinese film history in terms of theoretical criticism is explored.First,an overview of his film theoretical criticism activities is provided,summarizing the characteristics of the continuation of drama theory criticism,the combination with creative practice,and the plain and vivid language style.Secondly,Zheng Zhengqiu’s film theory is discussed with the core of the view of shadow puppet theatre,social enlightenment theory,and popular art theory;Zheng Zhengqiu’s film criticism is sorted out based on conscience doctrine,the nationality of the film,and the commercial aesthetics of the film.To explore Zheng Zhengqiu’s cultural identity as a film entrepreneur,one has to mention the Mingxing Company he founded with his colleagues.The Mingxing Film Company Limited was a typical representative of modern private film companies in China.It was not only the private film company with the longest operating time and the largest number of film productions during the Republic of China period,but also produced a batch of film works worthy of inclusion in the history records and trained a group of outstanding film professionals,profoundly influencing the development pattern of early Chinese films.The Mingxing Company embodied Zheng Zhengqiu’s beautiful expectations for the Chinese film industry and also became a stage for him to showcase his management and decision-making ability as a film entrepreneur.First,his working experience before the establishment of the Mingxing Film Company is retraced.Secondly,taking the Mingxing Film Company as the narrative center,the historical process from its establishment to the crisis and then to its rebirth is reviewed,as well as the important role played by Zheng Zhengqiu in it,demonstrating his core position in the operation and management team.Finally,Zheng Zhengqiu’s aspect as an entrepreneur is reexamined from the three angles of production,management and marketing.Film education and educational films are an integral part of Zheng Zhengqiu’s cultural identity as a film educator.Zheng Zhengqiu was a pioneer in the film industry.His teaching activities of film specialties based on industry experience and knowledge reserves trained famous film actors such as Hu Die and Xuan Jinglin,as well as the second-generation film directors and screenwriters such as Cai Chusheng and Shen Xilin,and profoundly influenced left-wing filmmakers such as Xia Yan.In addition to professional education and guidance for practitioners,he was also committed to the popularization of film knowledge at the public level.In addition,Zheng Zhengqiu’s films adhered to the tradition of "conveying morality through literature",and gained the popularity of the audience and the recognition of the times with the "doctrinaire" educational films and the artistic concept of truth,goodness and beauty.As a film educator who integrated knowledge and action and the first-generation film intellectual.Zheng Zhengqiu was well aware of the significance of education.From the film and drama school to the film set and to the official organization of educational films.Zheng Zhengqiu practiced the concept of educating people through films with his own practice and exploration.Since modern times,under the influence of Social Darwinism,the intellectual class seeking social and cultural changes has generally been immersed in spiritual anxiety.As the first generation of film intellectuals,Zheng Zhengqiu also held the subjective consciousness of curing social diseases.Due to long-term suffering from illness and mental distress,compared with the sense of responsibility of elite intellectuals to save the country and the people from danger,Zheng Zhengqiu had more compassion and empathy.In the discourse of saving the country from danger and pursuing reforms,there was no lack of subconscious self-redemption.Taking the symbol of "body" as a combination of symbol and practical meaning as the entry point,centering on the two images of "illness" and "medicine"throughout Zheng Zhengqiu’s life,this paper discusses his status as an intellectual and cross-boundary artist in the transitional era between old and new.The changes in his physical condition not only shaped his cognition of the world and his understanding of society,thereby influencing his artistic creation themes and styles,as well as his ideological choices in the turbulent times,so as to present Zheng Zhengqiu’s complex and multi-faceted spiritual world and inner entanglements more completely.Centered on Zheng Zhengqiu’s film activities,under the guidance of concept limitations and problem consciousness,the historical context of his film activities is explored in the form of his identity blocks rather than a simple linear time line.A multi-dimensional perspective of historical narration is reconstructed in the interwoven and intricate historical details of characters.Under the influence of the new film history and the trend of "rewriting film history",by excavating,sorting out,identifying and integrating relevant historical materials related to Zheng Zhengqiu’s film activities,and using the empirical research method of historical figures and the microscopic perspective to restore the historical details of early Chinese films,Zheng Zhengqiu and his film activities are rewritten,reshaping Zheng Zhengqiu’s historical positioning as the first generation of film intellectuals and cross-boundary artists and his unique multiple cultural identities.It is hoped that it can provide more research ideas for the study of other filmmakers,with the expectation of inspiring others.更多还原