《軼事與電影史：中國早期電影與布洛斯基的再協議》(II) 學術性專書寫作計畫
中文摘要
中國電影史的研究，在近幾年展現明顯的演變。主要原因大致可以是中國在2005年聲稱「中國電影百年」，並且大肆舉辦紀念活動告諸天下；今年（2009）香港同樣試圖宣示「香港電影百年」，跟進追究在此全球化情境中，逐漸失落的歷史文化根源。 二○○五年至今，我們看到中國和香港分別在此「關鍵時刻」，重新檢視本地電影史的努力中，在電影史的研究裡，從議題之設定、歷史斷代之預想、理論概念之依據、研究方法到提出對傳統認識的挑戰，都有極具啟示的見解。尤其對於中國或香港的「第一部電影」《定軍山》（1905？）或《偷燒鴨》（1909？），製作的情況與實際可能完成的年份，都提出大膽的質疑。 如同多數非西方國家，中國的電影史論述面臨幾個基本、但卻重要的問題。首先是一個認識論問題：它的電影歷史起源，應該如何被界定？她又如何確認採取凝視的方向或觀點？進而預設了如何納入「歷史事實」，並且由一特定意識形態立場進行「過去的論述」、建構歷史？歷史不等於過去，歷史學家透過歷史編撰掌握過去、詮釋過去，並且以此取代歷史，進而聲稱指向過去的總體。誠然，我們看到許多歷史的撰述，一方面藉由一連串的人物與事件，在一特定時間與地方，展開歷史的敘述；另一方面，藉由預設的意識形態立場，對於史料、文獻或人物與事件本身，進行收編與排除，以至於達到一個完整敘述型態的展現。 本研究計畫試圖強調近年在台灣逐漸揭露有關班傑明‧布洛斯基在中國早期電影裡的事蹟，並將其視為「軼事」的概念，以及這些被「排除」於中國電影史的「異質」特性，如何可能對於我們拓展中國電影史論述的可能。面對布洛斯基事蹟的啟示，本研究擬議採取一種「修訂主義」的歷史編撰可能，進而希望勾勒出中國早期電影在「布洛斯基和像他這樣的外國人」、「中國早期電影的映演概況」與「中國早期電影觀眾的接受」三方面的狀況。最後，本研究也將提議中國早期電影（1905-1921）的歷史編撰，或可採取一種「外來歷史」、「跨國歷史」或「前電影歷史」的「去中心歷史」論述策略。
Abstract
Due to the fact that China considers the year of 2005 as her centenary of film history, in the past few years, we are witnessing somewhat of a flourishing development in Chinese film history studies. Following the footstep of China, Hong Kong, in the urging of rebuilding her historical past, also tried to make an event of her centenary of film history in 2009. In the course of reexamining their own film history, both China and Hong Kong, to some extent, are revising film history research in aspects ranging from research inquiries, periodization, theoretical concept employing, methodologies; and above all, their challenging suggestions to the established knowledge of Chinese film history: the beginning of film production in China (Dingjunshan, The Battle of Dingjun Mountain, 1905?) and Hong Kong (Tou Shao Ya, Stealing the Roasted Duck, 1909), respectively. As most of non-Western countries, Chinese film history is constantly facing fundamental questions of: How does it begin? From what viewpoint it sets the gaze on her past? And, somehow this preconditioned historization of the past reveals her ideological positioning in the process of selecting/rejecting “fitting” past events as “historical facts”. Indeed, it is common to notice most of established Chinese histories arranged in a narrative form which follows the principles of start-and-end, cause-and-effect, logical relations of time and space, and characters and acts, in order to construct an imagined whole past. In the light of encountering Benjamin Brodsky’s lived episode in Chinese early cinema in recent years in Taiwan, this research project is proposing an “anecdote” concept in confronting the established Chinese film history. In the vein of practicing “revised historicism”, delving into Brodsky’s anecdotal film-related experiences in the early years of the last century, the research project is to suggest a approach of “foreign history”, “cross-national history” and “pre-cinematic history”, or a “de-centered history” in dealing with historiography of Chinese early cinema (1905-1921).