我们该如何评说文革“样板戏”电影中的红色呢?如今只要一提起“样板戏”就会让人联想到红色。我们都知道红色是共产主义革命的颜色。但是否还有别的可说呢?本文论证的是,尽管红色在这些电影中的确象征社会主义,但对红色的运用及其含义也有超出我们预期的其他可能性。主要英雄人物更倾向于穿白色而非红色。此外,女性的“学徒角色”(apprentice characters)最倾向于穿着红色,她们的角色身着在前革命时代象征着新娘的红色成为革命的新娘。本文还论证了颜色应被理解为既是含义也是动力(force),这种动力与剪接、构图、音乐、灯光,以及其他元素一起,合力为观众打造出具象参与(embodied engagement)的模式。这一来自象征含义的具象参与的自主性可以帮助我们理解,在这些作品摆脱了当初的政治含义之后很长时间还会持续流行的原因。不过,在表演这些作品的时候不唤起对那些象征含义的回忆是不可能的,这也有助于解释今天红色狂热所引起的不安。 How should we comment on the red color in the “Cultural Revolution” “model operas”? Now it is reminiscent of red only by mentioning “model operas”. We all know that red is the color of communist revolution. But what else can be said? This article argues that although Red does indeed symbolize socialism in these films, there are other possibilities beyond what we have expected of the application of redness and its implications. The main heroes tend to wear white instead of red. In addition, women’s “apprentice characters” are most likely to wear red, and their characters are dressed in the red, revolutionary bride, symbolizing the bride in the pre-revolutionary era. The article also demonstrates that colors should be understood as both meanings and forces, working together with splicing, composition, music, lighting, and other elements to create a pattern of viewer engagement. This autonomy of figurative participation, symbolic, can help us understand the reasons why these works will continue to prevail for a long time after they have been freed from their original political implications. However, it is impossible to arouse the memory of those symbolic meanings when performing these works, which helps to explain the anxiety caused by today’s red fever.