论“第六代”导演的电影创作

【作者】 朴宰亨；

【导师】 周斌；

【作者基本信息】 复旦大学 ， 影视文学， 2009， 博士

【摘要】 电影是大众文化的一种载体，是从总体上体现文化的一门综合艺术，可以说，它是一面反映现实的镜子。电影进入中国已经有100多年的历史了，在这100多年中，电影对中国人的生活产生了巨大的影响，至今仍在飞速发展。二十世纪九十年代初期，在对“第五代”电影体现现实的认识及对商业性的批判的同时，新兴起的“第六代”的年轻导演们使中国电影的发展产生了新的可能性。他们用电影的方式体现了中国当代社会的某些现实情况，用现实的手法表现出对边缘人的关心及同情。“第六代”导演指的是60年代出生，在80年代中期到90年代初期间大学毕业并开始从事电影活动的年轻一代的电影人，他们在摆脱政治理念的社会潮流中，对于表现个人生活经历和不安定的心理状态方面有着很大的兴趣，代表性人物有张元、王小帅、娄烨、贾樟柯、路学长、王超、王全安等。在叙述“第六代”导演之前首先有必要了解一下他们出现的九十年代的社会文化语境。当时，全球化的巨大潮流正在逐步影响着中国，使中国在政治、文化、社会、经济各方面经受了极大的考验，也产生了许多变化。这样的变化对电影界也产生了很大的影响。中国电影在形象语言、叙事风格基本形态方面都发生了巨大的变化。“第六代”导演想表达亲身体验过的事情或是自己亲眼看见过的事实，所以他们的电影内容很真实很坦白，在他们的电影里体现出来的都是真实的中国当代社会。“第六代”导演从中国现在城市社会矛盾和人际关系中找出发生的纠结，从而进行批判。因为飞速发展的商业化和世界化产生了新的价值，他们在电影中通过描写传统价值和伦理之间的纠结体现出中国风貌。虽然“第六代”导演的作品在叙事策略上跟观众心理期望值要求的还有一定距离，但由于他们追求讲事实的风格，也注重生活化的元素，所以作品具备了真实和自然的两大特征。在“第五代”电影更正式地把中国介绍给国际社会的同时，“第六代”电影也让人们认识到了真正存在的中国的姿态，并让人们真切地省察中国当前的现存问题。从这个因素上来说，研究中国“第六代”电影是理解当代中国社会较客观与合理的方法。本文着重于对“第六代”导演出现的背景、特征及其电影的美学特征进行研究，还包括对具有代表性的“第六代”导演的作品的分析，并展望“第六代”导演发展的新前景。首先，绪论部分从电影的题材、主题和叙事策略三个方面介绍了“第六代”电影导演的研究现状，另外也加入了韩国在研究“第六代”导演电影方面的情况。第一章，“第六代”导演的形成和风格。本章论述了“第六代”导演的形成原因和他们的独特个性风格。第一节分析中国电影导演的划分。简单说明百年中国电影的历史和中国电影导演的代际划分的特点。第二节论述了“第六代”导演形成的社会文化语境。注重分析了90年代复杂的社会语境下，“第六代”导演的个人成长背景、他们的个性风格和独特的电影创作方法是如何融合在一起的。第三节是“第五代”导演和“第六代”导演的差别与比较。介绍了“第六代”导演在抵抗“第五代”的冲击与不断突围中形成的特点，并比较与“第五代”的主要差异。第二章，“第六代”导演作品的电影美学特征。第一节是对生命体验的还原。分析在表达自己对人生的感觉或体验的观点上“第六代”导演的电影美学特征。第二节是强烈的影像美学意识。论述“第六代”导演的影像美学意识并分析其是如何反映在他们的作品之中的。第三节是边缘化的视角。论述了“第六代”导演在影片里如何用“纪录的方式”呈现现实世界，在影片中又是如何展现人物的生存状态。第四节是碎片写作的叙事方式。“第六代”导演的影片整体叙事感不强，没有所谓的开端、发展、高潮、结尾的情节结构和冲突运动。第三章，“第六代”导演的主要作品分析。第一节是后现代性文化的解读与阐释——娄烨的作品。分析了表现后现代性文化特征的作品《苏州河》，及娄烨导演其他的一些代表性作品。第二节是反映都市边缘人的生存状态——王小帅的作品。本节主要分析了王小帅表现当代都市青年的生活现状，关注边缘人的生存状态的代表作品，从《十七岁的单车》到《左右》，并且介绍了王小帅的电影创作历程和其他主要作品。第三节是从地下到地上——贾樟柯的作品。论述了“第六代”的代表导演贾樟柯的“故乡三部曲”《小武》、《站台》、《任逍遥》，并详细介绍了贾樟柯影片的独特风格和其他的代表作品。第四节是“第六代”其他重要导演及作品。主要包括张元、胡雪杨、王全安、路学长、张场等具有代表性的“第六代”导演的主要作品分析。第四章，“第六代”导演的创作走向。本章论述了“第六代”导演的创作变化——从90年代到至今，还有目前“第六代”导演的困境和突围。第一节是“第六代”导演作品的创作变化——从90年代初到至今。注重分析“第六代”导演作品从90年代初期到现在的创作变化。第二节是“第六代”导演的困境和突围。主要分析“第六代”导演目前所处的困境和自身的不足，以及他们怎样走出目前的困境。谈论“第六代”导演的创作，毕竟是一个现在进行时的话题，还远远没有到下结论的时候，但现在可以肯定的是，“第六代”无疑会成为中国电影历史链条中的一环，而他们的电影作为一个现在时态的艺术现象，提供了带有鲜明时代特色的认识价值，无论对待生活，对待电影，他们让我们看到了许多只属于这一代的东西。“第六代”至今还没有出现能够战胜上一代的作品，成功的一代一定是对上一代思想艺术的反叛，而且是成功的反叛，否则不过是年龄上的变化。对未来电影的期待和电影本身的巨大的可能性，都使我们有理由对“第六代”电影人提出更高的要求，我们的电影应该具有极大的多样性和复杂性，而这种多样性和复杂性取决于艺术家精微的感受力。现在我们的电影碰到的不是技术上的问题，也不是看了无数电影反刍后编出来的故事，而是直面人生的态度，他们的影片中缺的不是漂亮的光线，而是灵魂的东西。很常规的、很普遍的、具有代表性的中国老百姓的生活是怎样的?他们的生存状态、他们的希望、他们在寻找什么?关注这一点，也是关注中国的未来，这种关注是很有意义的。本论文是关于“第六代”导演及其电影创作的研究，是关于“第六代”导演登场的背景及与“第五代”导演的差异的研究，是关于“第六代”电影的美学特征的研究，通过对代表性导演的代表作品的分析，阐明了“第六代”电影想要表达的中国的现实，又陈述了关于“第六代”导演现实的困难和解决的方法。更多还原

【Abstract】 Movie film is a type of medium of general public culture;is a type of synthesizedarts of exemplifying the entire culture.In other words,it is a mirror that reflects thereality,Movie films already have 100 years of history since it entered in China.Inthese 100 years,it had huge influence to Chinese people’s life and developed rapidlyuntil now.In 20^th century early 90’s,regarding to“The Fifth Generation”the movie reflectsthe reality of understanding and criticizes the character of commercial at the sametime.It newly develops to“The Sixth Generation”where young directors bring aboutthe new possibility to Chinese movie’s development.They utilize movies to reflect thesociety’s certain realistic situations of China’s present age;utilize reality techniques toillustrate the edge of person’s care and compassion.“The Sixth Generation”refers to people who were born during 60’s.The younggeneration of movie film people who were graduated from the University during theperiod between mid 80’s to early 90’s and began the film activities,they haveexperienced the Tiananmen Square incident,the commercial culture,the politicalphilosophy as of the social trend,individual life experiences and great interest on thepsychological state of uncertainty.The representative people are Zhang Yuan,WangShao Shuai,Lou Ye,Jia Zhang Ke,Lu Xue Zhang,Wang Chao,Wang Quan An,etc.Before the description of the“The Sixth Generation”directors,it is necessary tounderstand what they appeared during the 1990’s social and cultural context.Duringthis period China had a huge tide of globalization in the political,social,economicand cultural aspects,thus obtaining large amounts of experiences.Such a change onthe film industry brought a great impact.1990’s society simultaneously changed themovie by influencing language;aspects of narration style in capital pattern alsobrought a big change.“The Sixth Generation”directors desire to express matters that are self experiencedor facts that have seen with their own eyes,for their movie contents to be very realand honest.The movies that they have reflected are the real contemporary Chinesesociety.“The Sixth Generation”directors,through the present China city’s socialconflicts and interpersonal relationships,have identified the occurrence of entangle,as a result it carried out the criticism.Because of rapid d evelopment incommercialization and globalization created a new value,which they in the film bydescribing the traditional rules and ethics embody entangled between the outlooks ofChina.“The Sixth Generation”director works with the narrative strategy wasrequested by the audience still having a certain distance.They will be implemented inthe pursuit of style,but also paying attention to what are the elements of life.Becauseof this kind of experience,the works were able to have real and natural characteristics.“The Fifth Generation”movies were more formally introduced about China tointernational community.“The Sixth Generation”movies also made people aware ofthe existence of a genuine sign of China,and truly let people in province to theexisting problems in China.Speaking up from this factor,to study China’s“The SixthGeneration”movie is the understanding of contemporary Chinese society,a moreobjective and rational approach.Therefore,to point out that more and more frequentcultural exchange between China and South Korea is very significant.First,the introduction partⅠhave analyzed from movie’s theme,the subject and thenarrative strategy all three aspects for“The Sixth Generation”movie directors’research on present situation.Moreover,the introduction about present researches ofSouth Korean“The Sixth Generation”movie directors.Chapter one is the type and the style of“The Sixth Generation”.In this chapterⅠwill state“The Sixth Generation”movie directors’ origin type and their uniqueindividuality style.This chapter’s section one is about the division of Chinese moviedirectors.This sectionⅠwill simply state about hundred years old China’s moviehistory and Chinese movie directors’ division characteristic.Section two is social andculture contexts on which“The Sixth Generation”directors formed.This sectionⅠwill talk about the 90s under the complex social and culture contexts lay“The SixthGeneration”directors’ individual grow up background,their creation method ofindividual style and uniqueness they puts on the movie.Section three is“The FifthGeneration”,“The Sixth Generation”directors’ comparing the differences.ThissectionⅠwill state the 90’s complexity of social and cultural contexts,in“The FifthGeneration”the impact and breaks through forming“The Sixth Generation”directors,furthermore,the analysis between“The Fifth Generation”and“The Sixth Generation”directors’ characteristics and the differences.Chapter two is“The Sixth Generation”directors’ movie aesthetic characteristics,this chapterⅠwill state“The Sixth Generation”directors’ movie aesthetic characteristic in separate four aspects.Section one is the life experience return to original state.ThissectionⅠwill talk about expressing oneself feeling to the life or the experiencedviewpoint“The Sixth Generation”directors’ movie aesthetic characteristics.Sectiontwo is intense influence aesthetics awareness.This sectionⅠwill talk about how“TheSixth Generation”directors influence aesthetic awareness and how their workinfluence aesthetic awareness.Section three is the change into the edge perspective.“The Sixth Generation”directors’ films’ characters are all“edge person”or smallcharacters in daily life.This section will talk about in films“The Sixth Generation”directors’ usage of“recording style”emerging present world,the existence state ofcharacters in films.Section four is fragment writing in narrative method.“The SixthGeneration”directors’ films’ whole entity narrative feels not strong,there areso-called introduction,development,climax,the ending plot structure and the conflictmovement.From four aspects,Ⅰwill talk about“The Sixth Generation”directors’movie aesthetic characteristics.Chapter three is the analysis of“The Sixth Generation”directors’ main work.Thischapter,Ⅰwill analyze“The Sixth Generation”main directors and their main scenicspot characteristics.Section one is the modernity cultural interpretation andexplanation--Lou Ye’s works.This sectionⅠwill explain the performance accordingto after modernity culture characteristic work〈SuZhouHe〉,as well as“The SixthGeneration”representative director Lou Ye’s other work analysis.Section two is toreflect the city edge person’s survival condition--Wang Shao Shuai’s work.Thissection will analyze the reflection of present city youth’s life current situation,representative work on focusing edge person’s survival condition〈ShiQiSuiDeDanChe〉until〈ZuoYou〉.In addition,I will analyze“The SixthGeneration”representative director Wang Shao Shuai’s movie creation process andthe main work.Section three is from the underground to the upper ground--JiaZhang Ke’s work.This sectionⅠwill state“The Sixth Generation”representativedirector Jia Zhang Ke’s“hometown trilogy”〈XiaoWu〉,〈ZhanTai〉,〈RenXiaoYao〉,and besides will explain Jia Zhang Ke’s movies that are unique style and also hisrepresentative work analysis.Section four is“The Sixth Generation”other importantdirectors and works.This sectionⅠwill talk about from the beginning of the 90’sZhang Yuan,Hu Xue Yang,Wang Quan An,Lu Xue Zhang,Zhang Chang,and soforth representatives“The Sixth Generation”directors’ main work analysisChapter four is“The Sixth Generation”directors‘creation trend.This chapterⅠ will state“The Sixth Generation”directors’change in work creation--from the 90’suntil the present,and current“The Sixth Generation”directors’ predicament and breakout of the encirclement.Section one is“The Sixth Generation”directors’ change inwork creation--from the start of 90’s until the present.This sectionⅠwill talk about,from the start of 90’s“The Sixth Generation”directors’ work until now“The SixthGeneration”directors’ change in work creation.Section two is“The SixthGeneration”directors’ predicament and break out of the encirclement.This sectionⅠwill state how“The Sixth Generation”directors’ predicament and insufficient part,and how they break out of the encirclement under current predicament.“The Sixth Generation”until today has not appeared defeat on previousgeneration’s work,a success generation certainly is the art revolution to the previousgeneration,and it is a successful revolution,plus it is a change in age range.For theupcoming movies’ anticipation and great possibility on movie itself,we all have thereason to ask for advanced request to The Sixth Generation of movie people,ourmovies should have the enormous multiplicity and complexity,and this multiplicityand complexity will be use by the artists’ fine prestige sense energy.Nowadays whatour movie have run into is not the technical problem,also is not the story that cameout from after watching no movies ruminate,but by directly facing the condition oflife,what their movie obtains is not the attractive light,but it is the soul factor.Veryregulated,very common,how is the life of the representative Chinese ordinary people?Their living condition,their hope,what are they seeking? Attention to this point,alsoshould pay attention to China’s future;this kind of attention has very big significance.The present thesis is a research about“The Sixth Generation”directors and moviecreation;is about“The Sixth Generation”background and research about thedifference with“The Fifth Generation”;is about“The Sixth Generation”movies’aesthetic characteristic research,through the representative directors’ representativeworks analysis.Expounded“The Sixth Generation”movie that wants to expressChina’s demonstration,also stated about“The Sixth Generation”directors’ realdifficulties and the solution methods.更多还原