不论是阮玲玉作为中国电影史上的传奇明星，还是其饰演者张曼玉自身的明星色彩，都使得《阮玲玉》成为了一个富有意味的电影文本，有着多重言说的空间。本文将从剧作结构入手，以电影《阮玲玉》为研究对象，剖析《阮玲玉》借用“片中片”结构背后的意义，进而运用比较分析法，探讨《阮玲玉》的“片中片”结构与其他同类型的经典影片相比有哪些的特点和不同。

本文在内容上涵盖三个部分，分别是“片中片”结构特点、互文叙事和自体反思。第一部分为“片中片”结构特点，从叙事时空、演员身份和舞台指涉方面展开分析。片中设置了多重时空，形成了三层叙事。借用张曼玉扮演阮玲玉及其电影角色，实现了两代明星的“对话”。借助于“舞台”这一空间的假定性，影片用“舞台”概念，暗指了阮玲玉的演员身份和她的人生命题。第二部分为“片中片”结构下的互文叙事，从现实与“片中片”故事间的互文性、演员与“人物”间的互文性以及符号与受困女性间的互文性进行分析。不同于多数同类影片，《阮玲玉》故事间的互文更集中体现在阮玲玉真实的戏外人生。而她的扮演者张曼玉，与阮玲玉，阮玲玉扮演过的角色之间呈现着多重互文关系。第三部分为“片中片”结构下的自体反思，从电影作为造星机器、作为造梦机器和“元电影”的形式三方面展开讨论。明星扮演明星的意味，又因女明星的特殊性而更显复杂，使得张曼玉或是阮玲玉不只是停留在银幕之上。在此结构下，《阮玲玉》通过纪录影像来打破观众的幻觉思考。同时，又在纪录影像中加入“搬演”成分，刻意制造真实感。

《阮玲玉》的出现丰富了“片中片”电影的形式和内容，为后人的分析讨论提供了富有价值和参考的文本。笔者的长篇剧本《曲终人散》的创作灵感也是来源于此，不仅采用了“片中片”结构，也将人物身份设定为女明星。

This article covers three parts in content, namely, the structural characteristics of the alienated "Film Within a Film " structure, the intertextual narrative under the "Film Within a Film " structure, and the self-reflection under the "Film Within a Film " structure. The first part is the feature of the alienated "Film Within a Film " structure, which analyzes the narrative time and space, the actor's identity and the stage reference. A double time and space is set in the film, forming a three-layer narrative. Borrowing Maggie Cheung to play Ruan Lingyu and her film roles, the "dialogue" between the two generations of stars has been realized. Since the title of the film, the concept of "stage" has been used to imply Ruan Lingyu's actor status and her personal life.The second part is the intertextual narration under the structure of "Film Within a Film ", from the intertextuality between reality and the "Film Within a Film " story, the intertextuality between actors and "characters", and the intertextuality between symbols and story archetypes Analysis. Unlike most similar films, the intertextuality between the stories of <Center Stage> is more concentrated in Ruan Lingyu's real life outside the theater. And her actor Maggie Cheung has multiple intertextual relationships with Ruan Lingyu and the roles played by her.

The third part is the self-reflection under the structure of "Film Within a Film ", discussing the three aspects of film as a star-making machine, as a dream-making machine and the form of "meta-movie". The meaning of a celebrity acting as a celebrity is further complicated by the particularity of a female celebrity, making Maggie Cheung or Ruan Lingyu not just staying on the screen. Under this structure, <Center Stage> breaks the audience's illusion thinking by documenting images. At the same time, the "rehabilitation" component was added to the recorded video to deliberately create a sense of reality.

The appearance of this flim enriched the form and content of "Film Within a Film " movies, and provided valuable and reference texts for future generations' analysis and discussion. The author's screenplay "The End of the Day" is inspired by this, not only adopts the "Film Within a Film "structure, but also sets the character as a female star.