【作者】 杨海燕；

【导师】 周星； 严三九；

【作者基本信息】 华东师范大学 ， 文学与传媒， 2013， 博士

【副题名】国际比较视阈下的中国电影新生代研究

【摘要】 二十世纪九十年代初,中国电影史上出现了这样一个导演群落：他们承受着“第四代”艺术传统和“第五代”辉煌成就的重压,却大义凛然、不为所惧；他们被排斥于主流意识形态和国家电影体制之外,被迫沦为“地下电影”,却依然不泯灭创作热情；他们深受西方各种现代思潮和电影运动的影响,在电影实践中不断打破常规、超越自我；他们以影像的方式深情地书写中国现代都市人和社会底层民众的生活百态,满怀人文主义情怀和人道主义关爱；他们向传统电影文化发出强烈的抨击,离经叛道、特立独行,不断挑战传统电影语言；他们在残酷的电影市场面前逐渐发生嬗变,形成了一条从“出走”到“回归”,从“地下”到“地上”的发展轨迹……他们就是中国电影新生代。在过去的二十余年里,中国电影新生代产生了一百余位导演,创作了四百余部作品,在国内外各大电影节上共获得大小奖项两百余次,可谓成绩斐然。回顾中国电影新生代的发展,我们不难看出,其中显露出非常明显的由“边缘”走向“中心”的脉络轨迹：首先,新生代的地位和影响力正由边缘走向中心。一九八九年,新生代的旗手张元首开先河,自筹资金拍摄了处女作《妈妈》,之后,胡雪杨拍摄了影片《童年往事》,虽然在国际电影节上有所斩获,但是曲高和寡,没有引起社会广泛的关注和认可,完全是边缘的、小众的电影。之后的好几年,虽然也陆续有几位导演的几部作品出现,但是因为无法走入体制内,新生代的作品几乎被沦为“地下电影”的代名词。一九九七年,电影《长大成人》的出现标志着新生代的转折,九十年代末之后,一大批新生代导演“浮出水面”,纷纷获得在体制内拍摄电影的机会,大批作品得以在影院与观众见面。而时至今日,新生代已经成为中国电影创作界的生力军和主流,贾樟柯、张杨、宁浩、王全安、姜文等就是典型的代表。其次,新生代电影的题材和主题日渐从边缘走向中心。九十年代初,张元、胡雪杨、王小帅、娄烨等导演以社会边缘人(如同性恋、吸毒、摇滚音乐人等)的故事为题材,展现现实生活中的阴暗、丑陋和压抑,因题材边缘、主题晦涩,不被当时的大众文化和主流意识形态所接受,倍受冷落。九十年代末,新生代导演们逐渐意识到问题的所在,开始面对现实,自觉地向社会主流意识形态和主流文化价值观回归,到了二十一世纪,回归与皈依的主题趋向更加明显地在新生代作品中流露出来,他们逐渐放弃了桀骜不驯的艺术姿态,转而汲取传统电影的某些元素,主动向主流文化和传统价值观念靠拢,从而逐渐被大众接受并认可,掀起了一股电影浪潮。中国电影新生代作为存在于当下、处于“正在进行时”的一种电影现象和电影文化,其形成与发展既与中国电影文化传统和当代电影文化生态密切相关,带有一定的“民族性”文化表征,同时也深受全球化语境影响,带有明显的“世界性”特征。无论从作品的题材、内容、主题、叙事风格、审美取向和电影语言,还是从新生代导演自身的发展轨迹和所处的社会经济、政治及文化背景等方面,无不存在着和世界电影史上影响较大的两大欧洲电影思潮——意大利新现实主义、法国新浪潮惊人的相似之处,意大利新现实主义的纪实风格和法国新浪潮的“作者论”在中国电影新生代的创作中得到了非常具象化的体现,贾樟柯的《小武》几乎成了《偷自行车的人》的中国式表达,姜文也因《阳光灿烂的日子》而成了新生代中的“特吕弗”……这一观照性现象看似偶然,实则必然,中国电影新生代从边缘走向中心的历程不仅体现了世界电影对中国电影的深远影响,同时也是中国电影艺术从本土走向国际的真实写照。本论文以意大利新现实主义、法国新浪潮作为研究参照物,借用比较学、电影学、社会学和文化学等多重方法,反观中国电影新生代的创作动机、艺术价值和现实意义,在叙述化的梳理、理论化的剖析基础上,加以电影作品的个案化、文本化比较,从电影本体的角度,以中国电影新生代与意大利新现实主义、法国新浪潮作双向比较,将其间的一脉相承和内在同质、同构进行学理化肃清,从而使得中国电影新生代的形成原因、发展脉络和本质特征更加清晰地突显出来,并更加准确地阐释其艺术价值和存在意义,以及其在中国电影史上呈现出的独具一格的文化风貌。更多还原

【Abstract】 The early1990s saw the rise of such a group of Chinese film directors:they felt undaunted with fortitude even overwhelmed by great pressure from the Fourth Generation of film directors with "art tradition" and the Fifth with "brilliant achievements"; despite of shortage of support from the government, exclusion from the mainstream ideology, and fact of being forced to "underground" film, the New Generation of Chinese film directors are passionate in the cinematic art pursuit. With a Chinese insight into Western thought and cinematic art, they never cease to jettison traditional methods of storytelling and search for self-identity; they use film as a medium to depict the living conditions of both urban residents and marginalized people with a humanistic spirit; they broke with traditional cinema and explored issues rather than recycling policy approved. Facing the competitive cinematic market, they kept transforming by virtue of returning to a more mainstream style and as a result, started to rise onto the ground from "underground". They are what we usually deem as the New Generation of Chinese film directors though controversial in a sense.In the past twenty years, the New Generation constituted by more than a hundred film directors has made great achievements with more than four hundred works and some two hundred awards in the major domestic and international film festival. Reviewing the development of the New Generation of Chinese film, we can easily see the transformation from "the marginalized" to the "main stream".First, the transformation of the New Generation from the "marginalized" to the "main stream" finds best expressions in their increasing status and influence. Zhang Yuan, a pioneering member of China’s New Generation of film directors, made the official debut of his self-funded Mama in1989with little response. Hu Xueyang’s Childhood Story, won several awards in international film festivals but had not aroused public concern. Works produced by other directors in the same generation even did not win permission for theater release then, either. Therefore, the New Generation’s work was almost reduced to the synonym of "underground film However, the film Making of Steel released in1997marked the turning point of the New Generation. Thereafter, the New Generation "rose to the ground" and gained permission for public release. Today, the domestic film market has become a battlefield for the new-generation directors. Important figures among them include Jia Zhangke, Zhang Yang, Ning Hao, Wang Quan’an and Jiang Wen.Secondly, in terms of theme and subject matter, the New Generation is moving from the marginalized to the main stream. In early1990s, many of films directed by Zhang Yuan, Hu Xueyang, Wang Xiaoshuai and Lou Ye highlighted the negative attributes of reality (homosexuality, drug addiction, rock music, etc), showing much concern to the underpreviledged of society, but their works were not well received. The late1990s saw their shift in theme and subject matter, where they began to face the reality and adapted themselves to the demands of the mainstream culture. In the twenty first century, the theme of returning and conversion rose to prominence and elements of traditional Chinese film came back to vitality. The New Generation of film directors won the recognition of the society and home audience, which is a sign that they "rose to the ground"As a contemporary cinematic phenomenon and culture in the process of being, the initiation, rise, and development of the New Generation of the Chinese film directors are either closely connected to the tradition of film culture and the ecology of culture of the current cinema, or an indispensable from the universality of the art of film per se with local characteristics in the context of culture globalization. Explored either from the subject matter, contents, theme, narrative style, aesthetic taste and the language used, or from the film-making art of the New Generation of Chinese directors and the social-economic, political and culture background they experienced, the New Generation is found to be surprisingly similar to the two major influential European trends of cinematic thought—the Italian New Realism and the French New Wave. The similarities of the two:the on-the-spot-record style of the Italian New Realism and the "author-oriented theory" are explicitly represented in the fabrication of the New Generation of Chinese films."Little Wu" by Jia Zhangke is well-nigh a Chinese version of The Bicycle Thief, Jiang Wen becomes a Truffaut of the New Generation via Sunday Days. The phenomenon, though seemly accidental, is in fact of necessity. The New Generation of Chinese films, with its sprouting from the marginalized position to the main stream, not only demonstrates that the profound influence of the world cinema on the Chinese production, but it is similarly the real experience of the internationalization of the local cinematic art of China.This thesis, with an eye to Italian New Realism, French New Wave, through perspectives of comparative and cinematography studies, social studies, and cultural studies, attempts to explore the intention of creation, artistic value, and realistic significance of the New Generation of Chinese films. On the basis of the narratological combing and theorized anatomy, along with the case studies of the cinematic works by comparison, this study, from the cinema per se, makes a comparison among the New Generation of Chinese films, the Italian New Realism and the French New Wave, arranging academically the inherited essence, the homogeneity and the same structure, in an effort to single out the cause of formation, the trend of development and nature of the New Generation of Chinese films, for the purpose of a more explicit expounding of its artistic value and existential meaning, and the unique cultural features that demonstrated in the history of Chinese cinema.更多还原