【作者】 张满锋；

【导师】 黄万华；

【作者基本信息】 山东大学 ， 中国现当代文学， 2008， 博士

【摘要】 20世纪80年代开始的中国城市化/现代化进程导致了急剧的社会变迁,人的命运以及人们的价值观念、心理状态、生存法则都在转型中动荡、变化。城市电影带着对城市文化的思索和对城市生活的深刻体验,从不同的角度对城市的成长和城市人的生存状态、情感需求倾尽关注和思考,与转型期的人们共享苦难、迷惘、欣悦和渴望,来理解、面对和解释共同所遭遇的现实。当代中国城市电影作为城市叙事的一支重要力量,与城市现实之间构成了一种互动关系和想象关系,中国社会的现代转型从一个十分重要的方面促成了中国城市电影的发展,而中国城市电影的发展历程又从一个重要的侧面折射出中国社会的城市化/现代化进程。中国的城市电影已经成为中国当代历史的一个缩影,无论是它提供的城市空间还是它所展示的人们的生活方式,都反映了都市中的普通人在争取社会进步的进程中所遭遇的苦涩与艰辛、期待和希望,蕴涵了中国现代化进程中所出现的种种社会主题,成为人们解读当代中国、理解当代中国的丰富文本。本论文选取20世纪80、90年代中国城市电影作为研究对象,尝试用各种有效的文化批评方法对电影导演及其城市电影文本进行多角度的阐释,深入透析在丰富驳杂的文化现象背后的意识形态意义,梳理并呈现这些现象背后的多元合力,窥探这些现象背后的个人主体与群体主体的文化心态、集体无意识或个体无意识的升沉流变,研究城市现实如何构建了城市影像,城市影像又如何再现城市的面貌与城市的文化,研究城市电影中文本想象与社会现实之间的关系,以及这种关系所蕴含的文化意义,从而为这个变动不居的年代“立此存照”,提供一份意味深长的、具有文化编年意味的文化地形图。笔者以为,这是一件必要而富有价值的学术工作。论文共分四部分。第一章为绪论。主要分析中国城市化进程与城市叙事的兴起,借鉴城市文学的定义以及其他论者对城市电影的论述,对本论文的研究对象作出框定,并对当前学界盛行的城市研究与中国城市电影研究状况进行简要梳理评析。最后,阐述本论文“依据症候阅读”的文本细读及意识形态分析研究方法及论文选题价值。第二章主要梳理中国城市电影发展概貌。为了使20世纪80年代后城市电影论述获得一个历史性前提,论文在这部分对早期城市电影和建国后城市电影作了简要回顾。第一节指出早期电影人采取“城市一乡村”的两元对立结构,以乡村传统的价值观来审视城市,造成城市被普遍描绘成“罪恶渊薮”和“堕落之地”,城市与罪恶的相伴而生成为中国早期电影描述以上海为代表的都市主导叙事策略和基本价值取向,并对早期电影人对城市的排拒批判和对乡村的认同留恋的深层动机作了合理解释。随后对左翼电影中的城乡对立和叙事定势进行分析,指出,左翼电影创作者们大都以民族、阶级的宏观视角来透视都市,城市的腐化、城市的罪恶和反道德形象,在左翼电影中成为了一种基本的符码表征和叙事定势。第二节指出建国以后至新时期,社会整体氛围和集体文化心理仍然延续着战争时代的余绪,在长期以来形成的“农村包围城市”的理念支配之下,城市与乡村之间的二元对立无形中被看成两种意识形态体系的分歧,乡村乃是改造城市的重要基地。于是,城市在电影中处于被遮蔽、压抑状态,成为淹没在政治概念里和作为被改造对象的“城市”。第三节分析阐述20世纪80年代后的中国城市电影产生语境并对城市电影创作分为四个阶段进行总体描述。第三章主要以第五代导演城市电影创作为研究对象,分析第五代电影中城市现代意识的兴起流变并对第五代城市电影的主要代表性导演黄建新、夏钢、周晓文的创作状况进行总体观照。第一节在回顾新时期城市电影发展的基础上,通过与第四代作品的对比,指出第五代城市电影中的“城市意识”不是对城市文明采取一种简单的褒扬或是贬抑的态度,而是开始意识到作为现代文明表征的“城市”以及现代文明自身的种种弊端,并试图从人文关怀的视角去探讨“城市”对“人”产生压抑的实质内容和那些被淹没在都市中的不为人知的心灵隐秘。第二节重点分析第五代早期城市电影及张泽鸣、孙周的创作对人文意识的续接和呈现,指出第五代早期的城市电影创作不是将注意力放在表现城市生活的物质性一面,也不再将城市人的生活指责为一种追求物质的腐朽方式并以此和乡村的精神纯净相对立,而是将关注点放在被现代文明所包围的“这一个”,他们对自身在城市中位置的找寻,对自我内心与城市关系的剖析,以及由此而产生的困惑和游离的心理倾向得到了深刻呈现。第三节专题研究黄建新城市电影。先是对黄建新电影中的小人物进行群相分析,指出黄建新城市电影的可贵品格在于关注现实的文化立场下,透析挖掘人性深度而透射着深邃的人文内涵。接着通过对黄建新城市电影知识分子形象变迁分析,指出这种变迁寓言式地再现了20世纪80、90年代知识分子文化权力的消长,拥有“文化资本”的知识分子在与正在获取“经济资本”的世俗大众的当代对话中,一步步地褪去了精神道德的优越位置,放弃其对社会发言和独立批判的角色本位,而自觉地趋向与世俗大众的身份求同。最后分析黄建新作为一个启蒙者面对中国城市现实困境表现出的文化矛盾。第四节是周晓文和夏钢城市电影合论。通过分析《疯狂的代价》指出周晓文重在表现城市喧嚣躁动的“疯狂”面孔,并读解《青春无悔》中国家现代化的影像寓言。比较而言,夏钢对城市的表现重在其温情美好的一面,城市与城市中具体的人和事是一种和谐、彼此照亮的关系。通过论述指出夏钢通过对王朔小说的改写完成了温情都市的书写,实现了电影的抚慰功能,但夏钢后期电影中的城市发生了不同程度的变化,体现出导演创作的复杂性。第四章主要以作为“城市的一代”的第六代导演创作为研究对象,读解第六代城市电影与城市现实之间的“互文”关系。第一节对第六代导演作总体把握,分析其成长经历、创作的社会语境、影坛态势以及对“第五代”反叛与突围的生存策略,造成他们以边缘化视点聚焦城市底层群体的整体创作特征。第二节对王小帅城市电影创作进行个案分析。首先通过对王小帅电影中城市底层边缘群体生活的考察,指出出身底层的城市群体,迫切渴望参与都市现代生活,然而,一旦他们的生存方式与都市的运转系统发生了微小的抵牾,就会被迅速地抛离出去,成为失散在都市物质文明图景之外的离心人,在“向心”与“离心”之间漂流,成为他们难以逃脱的定数。接下来细读《十七岁的单车》,分析隐含其中的社会阶层的区隔事实以及“都市里的乡村者”小坚融入都市的艰难。第三节对娄烨城市电影进行个案分析。娄烨通过自己的三部电影对上海进行着另类的影像书写。论文指出在《周末情人》中表现在现实空场中得不到历史精神哺育的而感到处处“不对”的文化青年,对于社会现实的应激性、假想式的文化反抗,从某种意义上对应了1990年代都市青年焦虑和躁动、抑郁落寞的生活情状。在《苏州河》中娄烨绕开了对上海恢弘的现代性的表述,展现出一个相对完整的当代都市上海的文化形象,一个繁华与腐烂同体、虚假与真实伴生、赞美与批判共存的、复杂多面的上海,以个体对城市的悲怆记忆完成了传奇上海的颠覆。《紫蝴蝶》以1930年代都市旧梦的假想方式,传达出都市生活本身潜藏的不确定性以及带给生命个体的精神性压抑,娄烨以当下的心灵体认历史的情绪,实现着自己对于当下生活的看法、立场和态度。第四节考察贾樟柯的小城镇电影。指出贾樟柯的小城镇电影以纪录片式的真实对经历改革沉痛而艰难蜕变的小县城与中等城市边缘个体(小武、崔明亮、斌斌等)的生存状态映现,是从个体经验出发,但指向的却是历史、社会和民族等“宏大的叙事”。进而揭示在全球化背景下,小城混合了压抑和梦想,混合了发展的冲动和失落的恐慌的文化经验,形象地折射出中国在发展中焦虑的生存状态,显示出小城镇电影的独特的历史文化意义。结语部分对城市电影“反城市化倾向”以及城市电影的发展走向进行了分析。指出,虽然经历了历史的多次转换和意识形态的大规模淘洗,但城市电影创作者文化心态与伦理观念仍然保持着相当多的农业文明的传统余绪。在外部形态上,城市电影固然是现代城市化的产物。但是在精神内涵上,它们对于现代的城市化进程,表达了庶几一致的心理疑虑、精神抗拒乃至是思想批判。同时指出20世纪80、90年代城市电影呼应了城市化进程所引起的社会意识变革而受到关注,但时过境迁,与城市电影相对应的社会形态和社会心理发生偏移,再加之城市电影的“当下”题材必然遭遇意识形态制约,城市电影既定的思想主题和题材内涵,正逐渐失去自身的社会效应和群体魅力。面对丰富复杂和冲突日益集中的城市生活形态,如何在人文情怀下进行理性审思和反思,叙写新的城市故事,拍摄出更富历史深度的电影成为摆在当前电影人面前的课题。更多还原

【Abstract】 China’s urbanization process beginning in the 1980s led to rapid social change. People’s fate, as well as their values, state of mind, and law of survival is in the turbulent transition and change.City films with reflections on urban culture and the profound experience of city life give much thought to the growth of cities and urban residents’ living conditions and emotional needs from different perspectives. Sharing transition suffering, confusion and happiness as well as eager with people going through the transformation, city films try to understand,face and explain the reality.Contemporary China’s urban films’relationship to urban reality is that of ainteraction and imagination, the transition of the Chinese society contribute a lot to the development of the urban films, and the development of Chinese urban films reflects China’s socialization / modernization process. Chinese urban films are like a microcosm of the Chinese contemporary history. They are rich texts to decode and understand modern China, whether the city space they provide or life styles they reveal reflect the bitterness and hardership, expectation and hope the ordinary people in cities encoutered when striving for social progress, and contain a variety of social themes during modernization.Studying the Chinese urban films of the 1980s and the 1990s,this paper tries to use all kinds of effective methods of cultural criticism to interpret film directors and versions of the Chinese urban films from different angles, to make deep analysis of the ideological significance of various cultural phenomenoa, to organize the multiple efforts behind the phenomena, and to pry into how urban realities construct city image, and how city image reproduce the and culture of cities. The paper study the relationship between the textual imaginations and social realities as well as the cultural meaning the relationship contains, hence provide a meaningful cultural map,which, according to me, is a necessary and valuable academic work.The paper is divided into four parts. Chapter I is an introduction,which mainly analyzes the interaction of China’s urbanization process and the Chinese city film production, discuss city films, frame the object of study, and make a brief assessment of the situation of the urban study and Chinese urban films that preavail the intelligentsia using the definition of urban literature, as well as other critics as reference.Finally, this paper elaborates the text reading and research methods on the symptoms and the value of the title selected.Chapter II is a profile of the development of the Chinese city films.The paper looked back on the early part of the urban films and the urban films made after the founding of the People’s Republic of China in order to give premise to the discourse on the city films after the 1980s.Section 1 points out that early films take a two-spot structure of "city - village", using traditional rural values to look at cities, thus descring cities as "hotbed of crime" and "a place of degeneration".Crime bom together with cities is the main recount strategy and basic value tropism of early Chinese movies describing cities like shanghai. Reasonable explanation is given of the reason why early films resisted and criticized cities and were attached to the country. Then this section makes analysis of the opposition between the city and the country and the fixed narration in the left-wing movies and points out that in these movies the creators look into cities taking the macroscopic perspective of race and class. Thus the degenerate and amoral image of cities becomes a basic premise and a fixed narration in the left-wing movies.Section 2 points out since the founding of the People’s Republic to the new period, era of wars still had an effect on the social environment and the collective cultural mind. The long-held idea of encircling the cities from the countryside dominate people then. The opposition between cities and the country was taken as the difference between two systems of ideology. The country is the base of rebuilding cities. Hence, in the movie, the city is overtaken and suppressed, drowned in the political concept and is taken as an object to be reformed. Section 3 elabrates the historical context of the Chinese city movies after the 1980s and a description is made for the whole basin of the creation of city movies according to four stages.Chapter III takes city movie creations of the the fifth generation directors as a research object, analyzes the rise and evolution of the city modern consciousness in the fifth generation movie and is concerned about the work ot representative of the fifth generation directors - Huangjianxin Xiagang, and Zhouxiaowen.Section 1 looks back on the development of city movies in the new period, points out "city consciousness" in the fifth generation city movies, comparing to the fourth generation is not simply praising or lessening urban civilization, but comes to be aware of city as token of premise to modern civilization and the various evils of modern civilization itself, and tris to probe from the perspective of humanistic care into the reality of city making people feel opressed, and the unkown secrets of urban residents’ soul.Section 2 is an analysis of the fifth generation city films and creations of Zhang zeming and Sun zhou as addition to and present awareness of the humanities. It points out the early fifth generation films are not to focus on material side of city life, neither do the films blame urban life as a decadent way of the pursuit of material and is the opposite to the purity of villages. Instead, the films focus on the typical persons surrounded by modern civilization. The search for their own location in the city, their analysis of the relationship between their bosom and the city, and the resulting counfusion and their dissociative feeling they suffered are presented.Section 3 is a special research of Huang Jixin’s urban films. The first part is a group analysis of the small potatoes in Huang’s films, pointing out what is valuable of Huang’s films is that they pay attention to reality have the depth of humanity. The following part is analysis of the change of intellectuals in the films, which depicts that intellectuals tend to seek the same identity of he mass of the commons, giving up their role of independent criticism. The last point is about the cultural contradictions Huang jianxin shows as a torchbearer when faced with the Chinese urban reality.Sector 4 is a combined discussion about Zhou Xiaowen and Xia Gang’s movies. By analysis of the Price of Craziness, the section says Zhou focus on the "crazy" aspect of cities (this section the author also decode the image fable in Qing Chun Wu Hui) while Xia Gang pays his attention to the fine aspect of city life, the cities and people living in them are in harmony with each other. Xia Gang, on the other hand, described cities as warm cities and realized the movies’ function to soothe by editing Wang Shuo’s novel. However, cities in Xia Gang’s late movies changed to some degree, which shows the complexity of directors’ creation.Chapter IV is mainly about creatios of the sixth generation directors as "the generation of city", showing the "intertextuality" relationship between the sixth generation city films and the urban realities.The first section makes a general analysis of the six generation directors, analyzing their growth, social context, the film posture as well as the survival strategy of rebelling the "fifth generation", resulting in their common creation characteristic of focusing the mass using marginalisation.The second section is a case analysis of Wang xiaoshuai’s creation of city films. First, this section explored lives of the people at the foot of the city, and pointes out these people are eager to take part in modern urban life, however, once their life style is in conflict with how the urban works, they will be throw away and become centrifugal persons, they are destined to drift. The second part is a detailed analysis of Beijing Bicycle, pointing out how difficult it is for xiaojian to integrate himself with the city.The third section carries on a case analysis of Lou ye’s city movies. Lou ye describes Shang hai from a unique aspect in his movie. In the Weekend Lover, not imbued with the traditional spirit, the cultural young men’s loss, as well as their cultural rebellion against the social realities responding to stumili correspond to urban younth’s anxiety, and loneliness in the 1990s. In Suzhou River, instead of a tremendous Shanghai, Lou ye presents us with a relatively comprehensive Shanghai, subverting Shanghai as a legendary city with his sorrowful memory of the city. The Purple Butterfly is about the urban old dream of the 1930s. It conveys the uncertainty of urban life and the spiritual oppression it brought to individuals in an imaginary way. In the movie, Lou ye tries to recognize the history , expressing his view of and attitudes to the present life.The fourth section investigates Jia Zhangke’s small town movies, pointing out Jia presents the survival state of the border individuals (Xiao Wu, Cui Mingliang) who lived in small or middle-sized cities and who experienced the difficult and painful reform in a documentary way. He deals with individual experience, yet what he directs is the history, the society and the nations. And then he reveals that with globalization, small cities are mixed with depression and dreams, urge to develop and panic about loss. Jia’s movies are a vivid description of people’s anxiety in developing China, showing the special historical and cultural meaning of small town movies.The conclusion part analyzes the the anti- city tendency and the future of city movies. It points out that although they experienced the change of history and ideology, the creators of city films remain influced by agricultural civilization in cultural mentality. City movies sure are urbanized in form, but in spirit, they express the same doubt, rebellion and criticizm to modern urbanization; moreover, the last part indicates that city movies of the 1980s and the 1990s obtained great attention since they echo the changes of social ideology caused by the progress of urbanization, while the social ideology is undergoing changes and the present subject matters of city movies are restricted by ideologies, the set theme and what the subject matters imply come to lose its social effects and charm. Therefore, as urban life is becoming more and more complex and the conflicts are concentrating, it is a major task before film workers how to reflect over the past with humanistic care and then write new city stories, and turn out movies with more historic depth.更多还原