摘要
以第五代为核心的中国新电影在1980年代辉煌崛起,构成了新中国电影从极端政治化向高度商品化转型的理想主义阶段,造就了人们对当代中国电影的基本想象。利用突出意象造型的现代主义电影语言,第五代电影缔造了新的电影神话、主体神话和家国神话,成就了其在文化大众化、商业化过程中的先锋身份与经典地位。第五代电影的崛起与陷落,表征了1980年代的新启蒙话语的悖论:启蒙与神话、先锋与媚俗、自由与禁锢的二位一体。追溯新时期中国电影的历史转折,重估第五代电影的文化价值,见证一个启蒙电影神话的兴衰起伏,可以更加辨证地理解、分析当代中国电影的现实状况与未来可能。
As an idealistic stage of Chinese films transformed from politicization and ideologization to commodity and secularization,the fifth generation movies in the 1980s consist of the trend of avant-garde films of enlightenment and also bring up the basic imagination of people to contemporary Chinese films.Utilizing a kind of movie language emphasized on image modeling and modernism,the fifth generation films have constructed the new myth of movie,subject and family and country and accomplished their classical positions in the course of secular modernization and cultural popularization.The rise and decline of the fifth generation films reveal the paradox of new enlightenment in the 1980s,two dimensions between enlightenment and myth.
出处
《北华大学学报（社会科学版）》
2011年第4期74-78,共5页
Journal of Beihua University(Social Sciences)
关键词
中国新电影
第五代电影
新启蒙运动
主体意识
神话
New Chinese films
The fifth generation films
New enlightenment movement
Subject
Myth
