| 摘要: | 阮玲玉（1910－1935）是中國默片時代最具代表性的女性演員之一，她的 銀幕形象、人生經歷與身後影響，不僅構成近代影史上一個極具張力的個案， 也成為現代性、性別政治與文化記憶交錯之下的一種「悲劇性符號」。本論文從 歷史與影像的交會處出發，試圖重返這位民國女星的生命現場與銀幕敘事，探 討她如何在電影作品中塑造出兼具階級悲情與情感厚度的角色形象，又如何在 現實中成為輿論獵殺與文化操控下的犧牲者。
論文內容共分為伍章，首先從阮玲玉的生平與情感歷程切入，釐清她成長 過程中的社會背景與演藝軌跡，再進一步分析其在《新女性》、《神女》等代表 作中所扮演角色的社會意涵與性別象徵。隨後，論文將探討當時上海媒體如何 以新聞敘事方式參與她形象的塑造與毀壞，並深入分析她與張達民、唐季珊的 情感關係如何成為公眾談資與媒體商品。1991 年關錦鵬導演的電影《阮玲玉》， 則是本文另一個重點文本，透過後設電影的手法，再現一位已故女星的歷史軌 跡，也重新辯證影像再現與歷史真實的關係。
此外，本論文亦將阮玲玉與同時期另一位著名女星胡蝶進行比較，觀察兩 人所代表的不同政治與文化路線對其銀幕形象與歷史評價的影響。最後，本文 亦將延伸至更長遠的文化記憶場域，探討阮玲玉如何被後人不斷重寫、懷念與 再現，成為中國近代影史上一個始終難以安放的名字。
本研究透過文本分析、歷史考證、媒體解構與文化記憶等方法，嘗試勾勒 出一幅關於「阮玲玉」的多層次文化圖像，並回應一個更深的問題：在一個過 渡時代裡，一位女性如何被歷史塑造，又如何反過來成為歷史的鏡子？;Ruan Lingyu（1910–1935）stands as one of the most iconic actresses of China′s silent film era. Her screen image, personal experiences, and posthumous legacy offer a compelling lens through which to examine the intersections of modernity, gender politics, and cultural memory. This thesis approaches Ruan not only as a historical figure but as a symbol shaped by cinematic narrative, social commentary, and media representation. By returning to her life and film work, this study seeks to explore how she was constructed as a tragic female figure—on screen and off.
The thesis is organized into five chapters. It begins with Ruan’s biographical context and her emotional entanglements, tracing her path from a working-class background to cinematic stardom. It then moves into a detailed analysis of her major films, such as New Woman and The Goddess, investigating how her roles reflect societal views on class, gender, and modernity. A core section addresses how Shanghai’s media environment contributed to both her myth-making and ultimate downfall, particularly in relation to her romantic involvements with Zhang Damin and Tang Jishan, which were widely exploited by the press.
Special attention is given to Stanley Kwan’s 1991 film Ruan Lingyu, a postmodern reimagination that blurs the lines between biography, fiction, and critique. The thesis further compares Ruan to her contemporary Hu Die, revealing the differing political and cultural narratives that shaped their images and legacies. Finally, the study examines how Ruan Lingyu’s figure continues to be reinterpreted, remembered, and revived in contemporary culture, making her a persistent—and unsettled—presence in the history of Chinese cinema.
Using film analysis, historical documents, media theory, and cultural memory frameworks, this study seeks to reconstruct a layered portrait of Ruan Lingyu and reflect on the broader question of how a woman, in a time of social upheaval, is simultaneously made by and makes history. |
