穿行于现代与后现代之间

【作者】 宋彦；

【导师】 朱德发；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2009， 博士

【摘要】 “现代性”与“后现代性”问题是20世纪西方思想、理论、学术界激烈争论的最重要的理论命题之一,是一门至今仍旧在世界范围内广泛论辩、争论不休的“显学”。西学东渐,伴随着上世纪70年代末我国大政方针的调整和改革开放的国门洞开,现代性、后现代性理论陆续译介到我国,并渐次引发争论的热潮。之所以选择“现代性”、“后现代性”理论作为研究的切入点,是因为该理论具有的强劲的反思、阐释力量,能给当代学术研究一个制高点,从而以宏阔的视野俯瞰各个学科(当然也包括电影艺术),透析真伪,思辨优劣。可以打这样一个比方,它就像高超的CT透析机和立体扫描仪,超强的穿透力和立体扫描功能,不仅能涉及多个学科、多个学术领域,而且还可以揭示出其中的多元性和多维度,为中国文化学术研究注入新的生机和活力。这也是迄今为止关于“现代性”、“后现代性”的讨论依然热潮不退的原因之一。“现代性”、“后现代性”理论极大的包容性和阐释力,使它成为研究、阐释新时期中国电影的利器。上个世纪70年代末以我国的改革开放为肇始,赓续起十九世纪以来中华民族不断迈进却又屡遭阻遏的现代化历史进程。新时期文化的“现代性”方兴未艾,“后现代性”又以迅雷不及掩耳之势迅速穿行于整个社会文化各个领域。一时间,中国成为了多元杂陈、多维并生的文化语义场。传统(前现代)、现代、后现代文化于此互相杂糅,现实主义、现代主义、后现代主义于此融会扭结,在竞相角力的博弈过程中各自占领着属于自己的生存空间,使中国电影文化呈现出姚黄魏紫,混杂交融的极其复杂时代风貌和审美格局。加之这两大理论话语本身就是根植于西方社会的土壤而产生的,移植到中国后必然产生有一个适应、改造、创新的本土化变异,橘南枳北,必然表现出不同于西方社会的异质文化形态。本课题的特点在于,运用现代性、后现代性理论视角切入新时期的部分电影文本,进行审美文化的研究与勘探,而那些与现代性、后现代性较少关涉的批判现实主义、浪漫主义的影像作品,不在本课题的研究视野之内。绪论部分“现代性、后现代性:概念与研究”对“现代性”、“后现代性”概念进行了理论界定,并辨析、廓清了与之密切相关而又在使用中相当混乱的一组组的“家族相似概念”——现代/现代主义/现代化/现代性、后现代/后现代主义/后现代化/后现代性、现代性/后现代性等等。现代/后现代主要是一个时代分期的历史概念;现代主义/后现代主义多用来指代在西方现代社会/后现代社会所发生的一场社会文化思潮;现代化/后现代化是指社会形态由传统向现代(现代向后现代)转变的一个历史过程;现代性/后现代性则指代社会历史和文化发生变革而产生的一种属性。这些概念内涵丰富、歧义丛生,使用中又相当随意,但为了论文写作的明晰,对概念进行梳理、廓清是必要的。以此理论框架,然后梳理了中国电影“现代性”、“后现代性”研究的基本状况,在肯定了前人开拓性功绩的基础上,同时指出中国电影“现代性”、“后现代性”研究的不足、缺失和理应努力的路径。第一章“新时期中国电影的现代性、后现代性转型”。从纵向的角度勾勒出中国电影现代性、后现代性嬗变的历史分期,并分别就其基本精神内涵与外部表征进行了综括与勾勒,力求以史带论,为下面两个章节的详尽论述作一铺垫和引领。现代性转型经历了三个阶段:(1)发轫期(1977—1982)、(2)激变期(1983—1987)、(3)定型期(1987—至今)。其基本精神内涵包括:(1)真善美的追求;(2)人性的复归。后现代转型经历了三个历史阶段:第一阶段(1987-1992)、第二个阶段(1993-2001)、第三个阶段(2002—至今)。其文化表征体现在:电影体制的产业化、电影商品性的肯定、电影娱乐化的追逐、电影市场的后殖民性。第二章“新时期中国电影的现代性特征”。分为四个部分:一,新时期电影现代性的文化特征(上);二,新时期电影现代性的文化特征(下);三,审美现代性的反思;四,现代性电影镜像的美学风格。第一部分从对于社会的理性批判和理想建构的角度,分为传统与现代、文明与愚昧、改革与守旧、反思与寻根四个部分进行了论述。第二部分则力求从现代性理论的内核——“人”的角度,分为主体意识的觉醒、历史人质的赎救、“父”与“子”的博弈、女性主体的找寻四个方面进行了深层的剖析。第三部分从审美现代性的角度对我国现代化转型中的“异化”现象进行了梳理,包括:都市中的迷失、金钱的挤压、传媒的异变三个主题。第四部分,从美学形态的角度分析了纪实美学、写意美学、影像美学的发展与表征。第三章“新时期中国电影的后现代性特征”包括五个部分。一,后现代性电影的文化策略。从调侃、反讽、游戏三个角度落笔,揭示出后现代性对现代性解构的特点;二,后现代性电影的精神内涵(上):解构中心。包括崇尚感性文化、解构中心权威、消解宏大叙事三个方面;三,后现代性电影的精神内涵(中):消解主体。对“主体”在后现代社会的表现进行了全面的梳理,它包括主体的退隐、英雄的消失、欲望的膨胀三个方面;四,后现代电影的精神内涵(下):多元叙事。从成长叙事、同性恋叙事、底层叙事、女性叙事四个角度分析边缘文化现象;五,后现代主义镜像风格。分析了后现代电影文本中普遍存在的元叙事的解构、碎片化与拼贴、互文性与戏仿等后现代性电影的修辞策略。第四章“新时期电影文化的错综性”。现代性文化与后现代性文化在新时期中国文化语境中共时并生、穿插交错,而非截然线性的前后相继、一脉相承。由此形成了社会转型期所特有的杂糅混合、兼容并包的艺术表现格局和风貌。这种交叉共融的状态体现为:一,导演创作时,他经常游走、穿行于现代性与后现代性之间,既有现代主义风格的作品,也有后现代主义风格的作品,二者兼具,并时有转换。二,在单一文本当中也呈现了现代性、后现代性杂糅一体的艺术形态,并以张艺谋、黄建新等“第五代”电影导演为例剖析其具体表现。结语部分“坚守与超越”探讨了转型时期中国电影的价值取向和发展路径问题。后现代性的产生并不意味着现代性的完成与终结,相反,现代性在本时期仍旧具有进步的价值内涵,人类远未实现现代性的目标。后现代性对现代性的批判和省思,具有某些合理性和时代意义,但其中的负面因素、消极的一面又是我们应当警惕的。新时期中国电影应当坚守住现代性对世界、社会、人生的积极因素和精神关注,又要在后现代性对现代性的校正、纠偏中建设新时期电影文化,只有这样,才能创造出一个无愧于时代、无愧于民族、无愧于人民的先进文化。更多还原

【Abstract】 The issue of“modernity”and“post-modernity”is one of the most important theoretical topics disputed by the ideological, theoretical and academic circles of the western countries as well as a“prominent subject”that is disputed worldwide today. At the end of the 1970s, with the adjustment of China’s national policies as well as the implementation of reform and opening-up, the theory of modernity and post-modernity were continuously translated and introduced to China and gradually aroused an upsurge of disputation. The reasons why this thesis chooses the theory of modernity and post-modernity as the starting point of studies are because it has powerful force of retrospect and exemplification, which can provide a high point for the contemporary academic studies (film art included, for sure). Like a CT and a cubic scanner which have super powerful penetration power and the function of three-dimensional scanning, it not only covers many subjects and academic areas, but also can reveal the plurality and multi-dimensionality among them, thus adding new vitality to the Chinese cultural and academic studies. This is also one of the reasons why the upsurge of disputation of“modernity”and“post-modernity”has not receded in China.With great compatibility and explanatory power, the theory of“modernity”and“post-modernity”is the instrument for the studies and explanation of the Chinese movies of the new eras. At the end of the 1970s, China adopted the policy of reform and opening-up, which resumed the Chinese modernization course initiated in the 19th century and broke down intermittently. After the rise of cultural“modernization”in the new era,“post-modernization”has been spread quick as lightning to every corner of the social culture. China, therefore, has been turned into a region where diverse and multi-dimensional culture co-exist. In the competitive environment, the traditional (pre-modern), modern and post-modern cultures intermingle and realism, modernism and post-modernism are entangled. In the wrestling game, they have their own survival space,and the Chinese movie culture emerges with a complex look and aesthetic pattern characterized by diversity and blending. In addition, the theory of“modernity”and “post-modernity”originated from the soil of western culture and was later transplanted to China. Like oranges grown in different localities, this accordingly has produced a local change, making it present an exotic cultural formation different from the western society. The main feature of the thesis lies in that it applies the theory of modernity and post-modernity to some screenplays in new era, contemplating and exploring them aesthetically. While those screenage works of critical realism and romanticism having little connection with modernity and post-modernity are not within the scope of the thesis.“Modernity and Post-modernity: Concept and Studies”—the introduction part of this thesis—makes theoretical definition of the concepts of“modernity and post-modernity”and discriminates a group of similar concepts of the same“family”—modern/modernity/ modernization,post-modern/ post-modernity/ post-modernization,and modernity/ post-modernity. Modern/post-modern is a historic concept to define the historic periods. Modernity/post-modernity refers to the social and cultural trends in the western modern society/post-modern society. Modernization/post-modernization refers to the historic course of the social formation changing from the tradition to the modernization. Modernization/post-modernization refers to a kind of attribution happening in the historic and cultural changes in the society. These concepts are usually casually used. However, to make the writing of this thesis clear, it is necessary to make a clarification of these concepts. Then, in the framework of the theory the thesis makes studies on the basic information of the“modernity”and“post-modernity”of the Chinese movies. While affirming the achievements of exploration of the others, this thesis points out the deficiency, weakness and new direction of the studies concerning“modernity”and“post-modernity”of the Chinese movies.“Transformation of Modernity and Post-modernity of the Chinese Movies in the New Eras”—Chapter 1 of this thesis—makes a sketch description of the historic periods of transformation of the modernity and post-modernity of the Chinese movies and makes comprehensive analysis of its basis spiritual contents and external characteristics, which also makes introduction for the following two chapters. The transformation of modernity underwent three periods: 1) The initial period (1977-1982); 2) The cataclysmic period (1983-1987); 3) The finalization period (1989-now). The basic spiritual connotation includes 1) the pursuit of the truth, 2) the return of humanity. The post-modernization underwent three historic periods: the first period (1987-1992), the second period (1993-2001), and the third period (2002-now). Its cultural characterization lies in the industrialization of movie mechanism, affirmation of the movie marketability, pursuit of movie entertainment orientation and post colonialism of movie market.“Modernity Characteristics of the Chinese Movies in the New Eras”—Chapter 2 of the thesis—is comprised of four parts: 1. cultural characteristics of modernity transformation (A); 2. cultural characteristics of modernity transformation (B); 3. introspection of aesthetic modernity; 4. aesthetic style of movie mirror images of modernity. From the viewpoints of social criticism and ideal reconstruction, Part 1 makes analysis on tradition and modernity, civilization and ignorance, reform and conservative, and introspection and seeking roots. From the viewpoint of“human beings”—the core of modernity theory—part 2 makes deep analysis on awakening of subject of consciousness, redeeming of historic hostage, affirmation of individual value, game play between“father”and“son”, and seeking of female subjectivity. From the viewpoint of aesthetic modernity, part 3 makes analysis on the alienation phenomena in the transformation of China’s modernity, including loss in city life, monetary extrusion, and media deviation. From the viewpoint of aesthetic form, part 4 makes analysis on the three characteristics of modernity regarding the development and manifestation of realistic aesthetics, factualism aesthetics, and film and image aesthetics.“Post-modernity Characteristics of the Chinese Movies in the New Eras”—Chapter 3 of the thesis—is comprised of five parts. Part 1 is about the cultural countermeasures concerning the post-modernity movies. From the viewpoints of mockery, satire and games, this part makes analysis of the post-modernity vs. modernity. Part 2 (A)—deconstruction center—is about the spiritual connotation of the post-modernity movies, including esteeming the perceptual culture, authority of deconstruction center, and digestion of grand narrative. Part 3 (B)—spiritual connotation of post-modernity movies—is about clearing up body, which makes analysis of the performance of“body”in the post-modern society, including the recede of body, the disappearance of heroes, and expansion of body appetite. Part 4 (C)—diversified narrative—is about the spiritual connotation of post-modernity movies, which makes analysis of marginal culture from the viewpoints growth narration, gay narration, bottom narration, and female narration. Part 5—mirror image style of post-modernism—makes analysis of the widely employed rhetorical methods in the post-modernity movies, including the deconstruction of“primary narrative”, fragmentization and collage, mutual cultural nature and parody.“Complexity of Movie Culture of the New Eras”—Chapter 4 of the thesis—argues that the modernity culture and post-modernity culture co-exist in the Chinese cultural context and do not follow one another in sharply linear development, thus forming the special mentality of the Chinese movie directors in the“Janus”era as well as the artistic expression pattern and outlook featuring in hybridization and free thinking and tolerance formed in the social transformation era. The hybridization of modernity and post-modernity is also presented in this thesis. Therefore, this thesis makes analysis by means of theory and text.“Defending or Pioneering: Tendency of Movies of the New Era Crossing Between Modernity and Post-modernity”—Concluding Remarks of the thesis—makes analysis of the value orientation and development tendency of the Chinese movies in the new eras. The appearance of post-modernity does not mean the completion of modernity. Instead, modernity still has progressive value connotation in the new era. Human beings have not fulfilled the goal of modernity. The criticism of post-modernity on modernity has certain reasonable significance. However, we should also be alert about its negative elements. The Chinese movies in the new eras should insist on the positive attention of modernity to the world, the society and people’s living. At the same time, taking advantage of the post-modernity, we should construct new film culture. Only in this way, we can build up the advance culture living up to the decade, the nation, and the people.更多还原