【作者】 陈雨露；

【导师】 颜海平；

【作者基本信息】 华东师范大学 ， 文学与传媒， 2014， 博士

【摘要】 上世纪90年代以来,中国陆续出现了一大批聚焦“城乡结合部”县域特殊空间、及其在此空间中当代中国人的生存状态的电影作品,形成了一种中国当代电影史上对动态中的城镇、县城、县级地市这类物理性界域的一种日益自觉的、带有现场感的“空间”审视。有别于一般既定的分类意义上的“城市”和“农村”电影,这些影片中充满内在张力的“县城—城镇—城乡结合部—空间”不仅是主人公活动的背景场所,同时亦与剧变中的人互为建构、相辅相成,或者“城乡结合部”本身就是人的生存形式及其自身属性。“城乡结合部”的县域空间和其中的人呈现为既诗意又残酷的生命存在。这种对“特殊空间”的深度自觉,引出丰富多样的审美形态,在电影创作中不断发展、延续至今；其审美特征及其文化内涵,是当代电影研究中一个有待探讨的命题。本论文立足于电影纪实美学的相关理论,从空间自觉、空间生产的视角,追朔90年代至今一群自觉聚焦“城乡结合部”县域空间的中国新生代导演,如何在他们的主要电影作品中对此特殊空间进行影像表达,探讨其中两种较为凸显的审美特征及其内在关联：“诗意”与“残酷”的辨证互动、及其社会内涵和可能有的文化意义。在这个过程中,本论文对新生代导演创作生态环境的两大要素,即资本要素与转型中的中国电影生产体制,有一定程度的涉及。本文的主体部分是第二至第五章,这四章的结构安排,一方面可从历时性角度看作是对中国县城影像发展脉络的探寻,基本上是以电影创作发展的大致顺序探讨：从“‘城乡结合部’—县域空间的审美自觉”、“个人情感记忆空间”的现实与理想的交织、“独立制片争相把县域空间的影像表征视为一种先锋的创作要素与话语权利、”“‘县域空间’与‘命题作文’的对话”。另一方面,本论文的结构安排也可视为从共时性角度对“城乡结合部”县域空间影像表征的各异形态所作的审美分析与初步梳理。每一章各自代表了一个导演群体对“城乡结合部”县域空间的富有侧重性的空间构建与话语表达。在审美层面上大有差异的90年代后出现的新生代导演们,不约而同地把关注的视野投向改革开放市场经济三十余年来在社会改革与变迁中最有矛盾张力的“城乡结合部”县域空间,以诗意和残忍交融变奏的审美方式呈现出中国基层社会中物理的空间变迁与想象的县城人的精神空间历变,及其相互的关联。在具体可感的影像中,新生代导演以纪实美学的手法触及到了中国当下最尖锐的社会矛盾和最有活力的生命向往,凸现基层社会中一度被遮蔽的个体经验,捕捉县域实在的空间质感。在这个过程中,他们运用纪实美学的创作理念和技巧,使得“城乡结合部”县域空间及其中的人深刻联结、相互交融。这背后支撑的是他们的社会关切、精英意识和电影美学理想。更多还原

【Abstract】 Since1990s, numerous films characterized by spatial representation of city, town, county, county-level city and prefecture-level city have appeared in Chinese film creation. Such creation tendency continues to exist up to now through various film aesthetic forms. However, in previous times, there were few Chinese films for spatial representation and production concerning "rural-urban continuums" such as towns. This is not just the issue concerning whether "town space" was presented and whether town environment could become the context and living space of protagonists’ activities, but that town space was never represented with so rich sense of space. Meanwhile, regardless considering from the space expression of Chinese film aesthetics or from the social structure of Chinese reality, county images should not equate with "urban films" without differentiation. Hence, based on the relevant theories of film documentary aesthetics, this paper discusses the image representation and discourse production of county space brought by films produced by Chinese directors of the new generation since1990s from a perspective of space production. In this process, this paper also gives consideration to the ecological environment created by directors of the new generation:the film production of capital element and Chinese national condition.The main body of this paper is from the second chapter to the sixth chapter. The structural arrangement of the five chapters is as follows:on the one hand, from a diachronic perspective, it can be regarded as an exploration to the development sequence of Chinese county images--the paper conducts its discussion according to the general order of film creation development:from "the discovery of county space", the reminiscence trend concentrating on "memory space of personal emotion", the observation of realistic questions such as "peasant-workers" and "vulnerable groups","independent filmmaking strives to regard the spatial representation of county space as a advanced creation element and discourse right" to "county space is used as the material of’proposition composition’to represent" in recent years. On the other hand, from a synchronic perspective, the structural arrangement of this paper can be viewed as the aesthetic conclusion and theory arrangement for different forms of county space image representation. Each chapter stands for one distinctive space construction and discourse expression of a specific directing group:the changing hometown space, nostalgic collectivism space, film media space of personal emotion memory, cold bottom space--the "sub level", the broken and torn county region space locating in the edge of rural and urban places and county space rich in sense of place and power structure prominence.The directors focus on the county space in the over30years since the reform and opening up of market-oriented economy when the impacts of modernization and urbanization are the fiercest, and present the visible spatial changes and invisible spiritual space variation of county people in Chinese grass-root society in the form of images. In the specific visible images, directors of the new generation contact the sharpest social contradiction in current China by means of documentary aesthetics, highlight the individual life experience in the grass-root society which is always shaded, and capture the concrete spatial texture of county space. In this process, they adopt creative concepts and skills of documentary aesthetics to profoundly combine the county space with people inside rather than separate people from the space. As for the film itself, it will be perfect to apply documentary aesthetical skills like a full-length shot for the content presentation of county space. It is because only a full-length shot can completely display the texture and true feeling of county space. In fact, a full-length shot can only be fully played in Chinese county space. It is also a powerful discourse resistance to the Chinese rapid modernization and urbanization with "sense of counterfeit" in the dual levels of film contents and film forms.更多还原