The Narrative Artistry of Chinese Science Fiction Cinema: An Analytical Study of Dislocation, The Wandering Earth, and Journey to the West(Yuzhou Tansuo Bianjibu)

中国科幻电影的叙事艺术——以《错位》《流浪地球》《宇宙探索编辑部》为例

Film is a comprehensive art form that carries humanity's reflections and imaginings about the present and future. As a significant genre within this medium, science fiction cinema has become a vehicle for exploring future lifestyles and ideal worlds through its unique narrative approaches. Chinese sci-fi cinema began relatively late due to technological and budgetary constraints, with early works predominantly taking the form of “soft science fiction”. With technological advancements and the growth of the film industry, Chinese sci-fi cinema has gradually shifted from “soft sci-fi” to “hard sci-fi.” Since the 2019 release of The Wandering Earth, sci-fi films have secured a prominent position in China's cinematic landscape. Compared to other genres, sci-fi films must satisfy audiences' dual expectations for imagination and visual spectacle, making innovation and breakthroughs particularly challenging. Beyond technical advancements, Chinese sci-fi films have also undergone significant shifts in narrative strategy. Early works like Dislocation focused on individual existential struggles and spiritual exploration. At the same time, the new generation represented by The Wandering Earth expands its scope to the cosmos and the “community with a shared future for mankind,” presenting a globalized narrative frame work.This article examines the narrative artistry of Chinese sci-fi cinema through the lens of three works—Dislocation, The Wandering Earth, and Journey to the West (Yuzhou Tansuo Bianjibu)—analyzing the characteristics and innovative paths of their narrative techniques.

电影是一种综合性的艺术形式，承载着人类对当下与未来的反思与想象。作为其中一个重要类型，科幻电影通过其独特的叙事方式，成为探索未来生活方式与理想世界的载体。由于技术条件和资金限制，中国科幻电影起步较晚，早期作品主要以“软科幻”的形式呈现。随着技术进步和电影产业的发展，中国科幻电影逐渐从“软科幻”转向“硬科幻”。自2019 年《流浪地球》上映以来，科幻电影在中国电影版图中占据了重要位置。相较于其他类型，科幻电影需要同时满足观众对想象力和视觉奇观的双重期待，这也使其创新与突破更具挑战性。除技术层面的进步之外，中国科幻电影在叙事策略上也经历了显著转变。早期作品如《错位》侧重于个体的存在困境与精神探索；与此同时，以《流浪地球》为代表的新一代作品将视野拓展至宇宙层面和“人类命运共同体”，呈现出全球化的叙事格局。本文以《错位》《流浪地球》和《宇宙探索编辑部》三部作品为研究对象，探讨中国科幻电影的叙事艺术，梳理其叙事手法的特点与创新路径。