中(zhong)(zhong)國(guo)電影文(wen)學(xue)既是中(zhong)(zhong)國(guo)電影的(de)有機組成部分(fen)(fen)，也是中(zhong)(zhong)國(guo)現當代(dai)文(wen)學(xue)的(de)特殊分(fen)(fen)支。學(xue)術(shu)界對這一兼具(ju)電影性(xing)和(he)文(wen)學(xue)性(xing)的(de)領域給予了關注，學(xue)者們(men)發表了一系(xi)列論(lun)文(wen)，出版了論(lun)文(wen)集、個案(an)研究(jiu)(jiu)或(huo)斷代(dai)史研究(jiu)(jiu)方面(mian)的(de)著(zhu)(zhu)作(zuo)，但(dan)系(xi)統考察中(zhong)(zhong)國(guo)電影文(wen)學(xue)發展歷程(cheng)的(de)通史性(xing)著(zhu)(zhu)作(zuo)一直沒有出現。近期，周斌先生(sheng)的(de)大著(zhu)(zhu)《百年中(zhong)(zhong)國(guo)電影文(wen)學(xue)史》（湖(hu)南(nan)文(wen)藝出版社2024年11月版）問世，填補(bu)了這一空白(bai)。

　　周(zhou)斌(bin) 著

　　湖南文藝出版社

　　2024年11月(yue)

　　當電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)由(you)幼年(nian)時(shi)期對生活(huo)片(pian)段(duan)的(de)簡單紀(ji)錄(lu)發(fa)展(zhan)為講述(shu)故事、傳達主題、揭示情感、塑(su)造(zao)人(ren)物的(de)“第七藝術”時(shi)，電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)的(de)重(zhong)要(yao)性就凸顯出來。電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)的(de)主要(yao)樣式是電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)劇本(ben)(ben)(ben)(ben)，此外(wai)還包括電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)本(ben)(ben)(ben)(ben)事、電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)小說、電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)故事等(deng)。電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)為電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)創(chuang)(chuang)(chuang)作(zuo)(zuo)提供了(le)不(bu)可或缺的(de)文(wen)(wen)學(xue)(xue)基礎，是導演(yan)、攝影(ying)(ying)(ying)(ying)(ying)、演(yan)員(yuan)開(kai)(kai)展(zhan)工作(zuo)(zuo)的(de)重(zhong)要(yao)依據。即便是當今視覺(jue)文(wen)(wen)化語境(jing)下，過分偏重(zhong)視覺(jue)奇觀打(da)造(zao)而忽略故事內(nei)容和(he)敘事邏(luo)輯的(de)影(ying)(ying)(ying)(ying)(ying)片(pian)仍(reng)會(hui)(hui)受(shou)到詬病。在相當長(chang)一段(duan)時(shi)間里，無(wu)論是中(zhong)國電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)創(chuang)(chuang)(chuang)作(zuo)(zuo)領(ling)域還是研(yan)究(jiu)領(ling)域，都很重(zhong)視電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)。創(chuang)(chuang)(chuang)作(zuo)(zuo)方(fang)(fang)面，電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)編劇和(he)劇本(ben)(ben)(ben)(ben)的(de)地位非常(chang)高，沒有好(hao)的(de)劇本(ben)(ben)(ben)(ben)，電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)不(bu)會(hui)(hui)輕易開(kai)(kai)拍(pai)。一些刊物發(fa)表了(le)不(bu)少優(you)秀(xiu)電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)劇本(ben)(ben)(ben)(ben)，出版社也陸續出版了(le)各種電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)劇本(ben)(ben)(ben)(ben)選集和(he)優(you)秀(xiu)電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)劇本(ben)(ben)(ben)(ben)的(de)單行本(ben)(ben)(ben)(ben)。《中(zhong)國新文(wen)(wen)學(xue)(xue)大系》從(cong)第二輯開(kai)(kai)始(shi)，專門設立(li)了(le)電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)卷，收錄(lu)電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)劇本(ben)(ben)(ben)(ben)。研(yan)究(jiu)方(fang)(fang)面，夏衍、柯靈、陳荒(huang)煤(mei)、鐘惦棐、張(zhang)駿祥、汪(wang)流、周曉明等(deng)人(ren)，在強調電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)重(zhong)要(yao)性和(he)基礎作(zuo)(zuo)用的(de)共識下，從(cong)不(bu)同(tong)角度(du)對電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)尤其是電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)劇本(ben)(ben)(ben)(ben)進(jin)(jin)行闡述(shu)和(he)分析。他們或探究(jiu)電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)劇本(ben)(ben)(ben)(ben)的(de)特性，或討(tao)論電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)的(de)語言問題，或總結電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)劇本(ben)(ben)(ben)(ben)的(de)創(chuang)(chuang)(chuang)作(zuo)(zuo)經驗、方(fang)(fang)法(fa)，或回顧中(zhong)國電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)某一階段(duan)的(de)發(fa)展(zhan)歷程，從(cong)不(bu)同(tong)角度(du)推進(jin)(jin)了(le)中(zhong)國電(dian)(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)研(yan)究(jiu)。

　　與(yu)上(shang)述研(yan)(yan)(yan)(yan)究(jiu)(jiu)相比，《百年中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)史》具有(you)(you)以下顯(xian)著(zhu)特點。第(di)一(yi)個(ge)特點是全(quan)面性(xing)和系統(tong)性(xing)。這部(bu)將(jiang)(jiang)近60萬字的(de)(de)鴻篇巨制出版之前，周斌先生(sheng)已在(zai)(zai)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)研(yan)(yan)(yan)(yan)究(jiu)(jiu)領(ling)域耕耘數十載，發(fa)表了(le)(le)一(yi)批探析中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)特點、價值、創(chuang)作(zuo)發(fa)展(zhan)的(de)(de)學(xue)(xue)(xue)(xue)(xue)(xue)術論(lun)文(wen)(wen)，出版了(le)(le)研(yan)(yan)(yan)(yan)究(jiu)(jiu)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)劇作(zuo)家的(de)(de)專著(zhu)。《百年中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)史》是作(zuo)者以往(wang)研(yan)(yan)(yan)(yan)究(jiu)(jiu)成果基礎上(shang)的(de)(de)集大(da)成之作(zuo)，是長期(qi)鉆研(yan)(yan)(yan)(yan)、思(si)考(kao)(kao)(kao)的(de)(de)結晶。該(gai)著(zhu)視(shi)(shi)野(ye)開闊、氣象宏大(da)，思(si)考(kao)(kao)(kao)細(xi)致深入，學(xue)(xue)(xue)(xue)(xue)(xue)理性(xing)強，史論(lun)兼美，堪(kan)稱體大(da)慮周的(de)(de)中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)通(tong)(tong)(tong)史。該(gai)著(zhu)的(de)(de)“通(tong)(tong)(tong)”既表現在(zai)(zai)縱向(xiang)上(shang)的(de)(de)前后貫(guan)通(tong)(tong)(tong)，也表現在(zai)(zai)橫(heng)向(xiang)上(shang)的(de)(de)中(zhong)(zhong)外(wai)融通(tong)(tong)(tong)。縱向(xiang)上(shang)，全(quan)書貫(guan)通(tong)(tong)(tong)了(le)(le)中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)發(fa)展(zhan)的(de)(de)整(zheng)個(ge)過程，研(yan)(yan)(yan)(yan)究(jiu)(jiu)對(dui)象的(de)(de)時間(jian)范圍上(shang)自中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)誕生(sheng)，下至世紀之交，在(zai)(zai)對(dui)一(yi)些(xie)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)劇作(zuo)家進行個(ge)案研(yan)(yan)(yan)(yan)究(jiu)(jiu)時，還涉(she)及到21世紀以來(lai)的(de)(de)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)劇本創(chuang)作(zuo)。該(gai)著(zhu)將(jiang)(jiang)百年中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)分(fen)為(wei)九個(ge)時期(qi)，分(fen)別加(jia)以詳細(xi)論(lun)述，勾勒出清晰的(de)(de)發(fa)展(zhan)演變(bian)脈絡(luo)。比起(qi)以往(wang)的(de)(de)零散研(yan)(yan)(yan)(yan)究(jiu)(jiu)或斷代(dai)史性(xing)質的(de)(de)研(yan)(yan)(yan)(yan)究(jiu)(jiu)，該(gai)著(zhu)不僅體量更大(da)，而且更加(jia)全(quan)面，更加(jia)系統(tong)。橫(heng)向(xiang)上(shang)，該(gai)著(zhu)放(fang)眼世界，把外(wai)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)化及電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)作(zuo)為(wei)有(you)(you)益的(de)(de)參照(zhao)系，在(zai)(zai)中(zhong)(zhong)外(wai)相互比較(jiao)、融通(tong)(tong)(tong)的(de)(de)視(shi)(shi)野(ye)中(zhong)(zhong)，更好地把握中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)的(de)(de)特征和發(fa)展(zhan)規律(lv)。該(gai)著(zhu)從發(fa)生(sheng)學(xue)(xue)(xue)(xue)(xue)(xue)角度介紹(shao)了(le)(le)各國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)的(de)(de)誕生(sheng)情況(kuang)，以及電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)界對(dui)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)劇本的(de)(de)重視(shi)(shi)態(tai)度，有(you)(you)力論(lun)證了(le)(le)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)存在(zai)(zai)的(de)(de)必要性(xing)，并考(kao)(kao)(kao)察了(le)(le)中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)在(zai)(zai)不同時期(qi)對(dui)美、蘇、意(yi)、法、英、日(ri)等國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)的(de)(de)學(xue)(xue)(xue)(xue)(xue)(xue)習借鑒情況(kuang)，不僅有(you)(you)助于(yu)理解(jie)中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)發(fa)展(zhan)的(de)(de)中(zhong)(zhong)外(wai)文(wen)(wen)化淵源，而且有(you)(you)助于(yu)認識中(zhong)(zhong)國(guo)(guo)電(dian)(dian)(dian)影(ying)(ying)(ying)(ying)(ying)(ying)文(wen)(wen)學(xue)(xue)(xue)(xue)(xue)(xue)兼收并蓄的(de)(de)包(bao)容精神和追求(qiu)創(chuang)新超越(yue)的(de)(de)進取意(yi)識。

　　該著(zhu)的(de)(de)第二個特點是(shi)(shi)(shi)(shi)史(shi)料豐富完備(bei)。作為一部通(tong)史(shi)性著(zhu)作，《百(bai)年(nian)中國電(dian)影(ying)文(wen)學(xue)(xue)(xue)史(shi)》對各個時期的(de)(de)電(dian)影(ying)文(wen)學(xue)(xue)(xue)史(shi)料進行了(le)詳細梳理和歸(gui)納(na)。這些(xie)史(shi)料由四大類構成：一是(shi)(shi)(shi)(shi)發表電(dian)影(ying)文(wen)學(xue)(xue)(xue)作品尤其是(shi)(shi)(shi)(shi)電(dian)影(ying)劇(ju)本(ben)的(de)(de)刊物，出(chu)版的(de)(de)電(dian)影(ying)劇(ju)本(ben)選集、單行本(ben)、電(dian)影(ying)劇(ju)作家的(de)(de)個人劇(ju)本(ben)集等(deng)(deng)(deng)；二是(shi)(shi)(shi)(shi)研究電(dian)影(ying)文(wen)學(xue)(xue)(xue)的(de)(de)著(zhu)作和論文(wen)，包(bao)括理論研究文(wen)獻(xian)和評(ping)論性研究文(wen)獻(xian)等(deng)(deng)(deng)；三是(shi)(shi)(shi)(shi)與電(dian)影(ying)文(wen)學(xue)(xue)(xue)創作有(you)關的(de)(de)政(zheng)策(ce)文(wen)件；四是(shi)(shi)(shi)(shi)電(dian)影(ying)劇(ju)作家的(de)(de)訪(fang)談、回(hui)憶(yi)錄等(deng)(deng)(deng)。翔實的(de)(de)史(shi)料體現出(chu)作者廣(guang)博的(de)(de)知識積累和嚴謹的(de)(de)治史(shi)態度。對史(shi)料的(de)(de)充分占有(you)，保證了(le)著(zhu)作觀(guan)點的(de)(de)言出(chu)有(you)據，言之成理。

　　第三個特(te)(te)點是點面(mian)(mian)兼顧，重點突出。書中緒論部分(fen)對(dui)中國電(dian)影文學(xue)發展(zhan)的(de)(de)整(zheng)體(ti)面(mian)(mian)貌進(jin)行(xing)了簡要描述(shu)，前九章則分(fen)別詳細(xi)(xi)闡述(shu)某一時期的(de)(de)電(dian)影文學(xue)狀況。各(ge)章先是宏(hong)觀概括該時期電(dian)影文學(xue)創(chuang)作(zuo)(zuo)的(de)(de)時代背景和(he)基(ji)本情況，歸納提煉(lian)創(chuang)作(zuo)(zuo)特(te)(te)點，然后對(dui)有成就的(de)(de)劇作(zuo)(zuo)家及代表性(xing)作(zuo)(zuo)品(pin)進(jin)行(xing)個案(an)分(fen)析(xi)和(he)文本細(xi)(xi)讀(du)。這樣的(de)(de)章節體(ti)例安排，把宏(hong)觀層(ceng)(ceng)面(mian)(mian)的(de)(de)整(zheng)體(ti)把握與微觀層(ceng)(ceng)面(mian)(mian)的(de)(de)細(xi)(xi)致(zhi)解讀(du)很好(hao)地(di)結合起來，突出了電(dian)影文學(xue)作(zuo)(zuo)品(pin)的(de)(de)本體(ti)性(xing)研(yan)究。

　　第四個(ge)特點是(shi)廓(kuo)清了(le)中(zhong)國電(dian)(dian)(dian)(dian)(dian)影文(wen)(wen)學(xue)研究(jiu)(jiu)中(zhong)的(de)(de)(de)一些基本問(wen)題(ti)，彰顯出(chu)思辨色彩和學(xue)理深度(du)(du)。一是(shi)電(dian)(dian)(dian)(dian)(dian)影文(wen)(wen)學(xue)研究(jiu)(jiu)與(yu)文(wen)(wen)學(xue)研究(jiu)(jiu)的(de)(de)(de)聯系(xi)(xi)和區(qu)別。電(dian)(dian)(dian)(dian)(dian)影文(wen)(wen)學(xue)研究(jiu)(jiu)不僅(jin)關(guan)注題(ti)材、主(zhu)題(ti)、人物、情(qing)感、矛盾沖突(tu)等(deng)文(wen)(wen)學(xue)敘事(shi)層面(mian)，還要關(guan)注作品(pin)如(ru)何調動影像畫(hua)面(mian)等(deng)視覺元(yuan)素和音樂音響(xiang)等(deng)聽(ting)覺元(yuan)素參與(yu)敘事(shi)。例如(ru)該著在解讀夏衍電(dian)(dian)(dian)(dian)(dian)影劇本創(chuang)(chuang)作時(shi)，就從文(wen)(wen)學(xue)、畫(hua)面(mian)、音樂三個(ge)層面(mian)加以(yi)論(lun)(lun)析，認為劇本《時(shi)代(dai)的(de)(de)(de)兒(er)女》運用(yong)(yong)蒙太奇手(shou)法組接畫(hua)面(mian)產生了(le)極強(qiang)的(de)(de)(de)視覺沖擊力，《壓(ya)歲錢》中(zhong)的(de)(de)(de)音樂和插曲(qu)發揮了(le)揭示(shi)主(zhu)題(ti)、渲染情(qing)緒的(de)(de)(de)作用(yong)(yong)。二是(shi)指出(chu)中(zhong)國電(dian)(dian)(dian)(dian)(dian)影文(wen)(wen)學(xue)發展(zhan)與(yu)社會時(shi)代(dai)變(bian)革及電(dian)(dian)(dian)(dian)(dian)影自(zi)身發展(zhan)之間存在密(mi)切關(guan)系(xi)(xi)，并在揭示(shi)上(shang)述(shu)關(guan)系(xi)(xi)的(de)(de)(de)背(bei)景下探究(jiu)(jiu)該時(shi)期(qi)電(dian)(dian)(dian)(dian)(dian)影文(wen)(wen)學(xue)創(chuang)(chuang)作的(de)(de)(de)成(cheng)敗得(de)失。由此得(de)出(chu)的(de)(de)(de)結論(lun)(lun)比孤(gu)立、靜態地(di)分(fen)析電(dian)(dian)(dian)(dian)(dian)影文(wen)(wen)學(xue)作品(pin)更有說(shuo)服力。上(shang)述(shu)基本問(wen)題(ti)的(de)(de)(de)厘清，將中(zhong)國電(dian)(dian)(dian)(dian)(dian)影文(wen)(wen)學(xue)研究(jiu)(jiu)提升到了(le)新的(de)(de)(de)高度(du)(du)。

　　周斌 著

　　湖南文藝出版社

　　2024年11月

　　《百年(nian)中國(guo)(guo)電(dian)(dian)(dian)影文學(xue)史》的(de)(de)價值(zhi)和貢獻顯而易見。該著確立了中國(guo)(guo)電(dian)(dian)(dian)影文學(xue)研究(jiu)的(de)(de)對象范圍、理(li)論(lun)方法、架構范式，豐富的(de)(de)史料也為年(nian)輕學(xue)人(ren)繼續深入研究(jiu)電(dian)(dian)(dian)影文學(xue)奠(dian)定了堅實(shi)基礎。在商(shang)業娛(yu)樂與視覺消費逐漸興盛、創作界對電(dian)(dian)(dian)影文學(xue)重視程度有所下降的(de)(de)今(jin)天，該著重申(shen)電(dian)(dian)(dian)影劇本的(de)(de)重要(yao)作用，追溯(su)中國(guo)(guo)電(dian)(dian)(dian)影文學(xue)的(de)(de)優良傳統，總(zong)結寶貴經驗，對推動(dong)我國(guo)(guo)電(dian)(dian)(dian)影高(gao)質量發(fa)展、從電(dian)(dian)(dian)影大國(guo)(guo)邁向(xiang)電(dian)(dian)(dian)影強國(guo)(guo)具有現實(shi)和長遠的(de)(de)意義。