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KCI등재 학술저널

历史隐遁与真实消解的成功突围

《城南旧事》叙事模式再探析

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20世纪80年代是中国电影蓬勃发展的黄金十年,这一时期由第四代导演引领的纪实主义美学悄然兴起。在中国的政治、经济、文化发生巨变的时代背景之下,承袭着原有制作体制和数十年发展经验的中国电影因此焕发了勃勃生机。第四代导演用诗化的风格和多样化的创作手法与传统戏剧电影作别,他们一方面在控诉历史,一方面却又在寻求一种隐遁与规避,在“真实”的影像中消解着自己的青春之祭。本文以《城南旧事》为例,从叙事动机和复杂的心绪表达方面重新审视第四代导演的作品,以期为当下文化全球化的时代如何表述中国故事和中国文化提供新的思路与视角。

The 1980s is the golden decade for the vigorous development of Chinese films. During this period, the documentary aesthetics led by the fourth generation of directors quietly rose. Under the background of great changes in China s politics, economy and culture, Chinese films, which inherit the original production system and decades of development experience, are full of vitality. On the one hand, they are accusing history, on the other hand, they are seeking a kind of seclusion and evasion, and they are digesting their youth sacrifice in the real image. Taking old stories in the south of the city as an example, this paper re examines the works of the fourth generation directors from the aspects of narrative motivation and complex mood expression, in order to provide new ideas and perspectives for how to express Chinese stories and Chinese culture in the era of cultural globalization. We should actively sum up and absorb the achievements of Chinese films in the 1980s. In the current context of cultural globalization, we should use practice to seek and explore how to use Chinese image language to tell Chinese stories and express profound, beautiful and profound Chinese culture.

1. 绪论

2. 二十世纪八十年代的中国电影

3. 散文诗化的叙事

4. 美学观念——意向的残缺与朦胧的意境

5. 结语

参考文献

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