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民国时期存在着现代中国关于儿童的话语,与政治军事危机、“国货”运动的共生关系。这场集国家生产、意识形态、发展模式为一体的混合式潮流,制造出以“产品国籍”为特征的一种民族国家发展意识。孙瑜的电影《小玩意》捕捉了这一时刻——工业化生产的国货与作为未来国家主人翁的儿童形象,叠加成为反抗帝国主义压迫的国家发展象征。在民族进化的这一残酷设定下,为了实现“国货”式未来,没有发展“前途”的小生产者如叶大嫂,需要为国家民族献出孩子和自身生存。这部宣传性极强艺术性也极强的电影,在无意间,对这一发展逻辑提出了质疑。
During the period of the Republic of China, there existed the symbiotic relationship between the discourse of children in modern China and the political and military crises and the movement of “national goods”. This mixed trend of national production, ideology and development mode creates a sense of national development characterized by “product nationality.” Sun Yu’s movie “Baubles” captures this moment - the domestically produced goods and the image of children who are the masters of the country in the future, superimposed to become symbols of national development against imperialist oppression. Under this brutal set of national evolution, in order to realize the “nationalistic” future, small producers without a “future”, such as Ye Sister, need to sacrifice their children and live on their own. This very highly publicized and artistically strong film has inadvertently challenged this logic of development.