消逝的悲歌与青春的主旋——中国电影“第五代”及其后  

The Fifth Generation of Chinese Cinema and its After

作　　者：沙蕙[1] 

机构地区：[1]中国艺术研究院马克思主义文艺理论研究所

出　　处：《文艺研究》2006年第9期4-13,共10页Literature & Art Studies

摘　　要：本文选取2005年作为中国电影发展现状的切片,以身处旋涡中心的“第五代”及其后的两代导演在这一年的作品为参照,从电影与时间的关系、电影与记忆的关系、电影与观众的关系等角度进行分析和解读,试图总结当代中国电影与电影人艺术道路的发展轨迹与脉络,进而指出,电影的希望在于新一辈的电影人,他们的贡献在于使电影返璞归真,把电影重新带回一个心平气和、健康发展的轨道上。他们的创作因此带有鲜明的时代特征与新理想主义色彩,这里既有作为年轻一辈顺其自然的内在转变,也有来自体制与意识形态的水到渠成的现实需要。在某种程度上,他们已经实现了对前辈的继承与超越,并预示着电影未来可以选择的出路。This paper selects the year 2005 as a fragment of the historical development of Chinese cinema with reference to the works by the fifth generation directors and the two generations after who are just at the center of the whirlpool of film-making. It tries to analyze the relations between cinema and time, cinema and memory, and cinema and its audience, to make a summary of the development of contemporary Chinese cinema and its artistic creation, and to point out that the hope of cinema lies in the new generation whose contribution is to make it natural, peaceful and healthy with striking indication of the time and the new idealism. The works of the year show not only the internal transformation natural to the young generation, but also the urgent need true to the institution and its ideology. In a sense, they have transcended their forefathers on the one hand, and anticipate a future that is feasible for the Chinese cinema on the other.

关 键 词：中国电影 第五代 第六代 新生代 

分 类 号：J905[艺术—电影电视艺术]