20世纪90年代以来中国电影的“后现代性”  

The Post-modernity in China's Films Since 1990s

作　　者：张立群[1] 

机构地区：[1]辽宁大学文学院,辽宁沈阳110036

出　　处：《南都学坛（南阳师范学院人文社会科学学报）》2009年第2期58-62,共5页Academic Forum of Nandu:Journal of the Humanities and Social Sciences of Nanyang Normal University

基　　金：辽宁省哲学社会科学规划基金项目"后现代主义与中国当代文学"的阶段成果;项目编号:L08BWW009

摘　　要："后现代性"作为特定历史阶段的文化品格,曾深刻影响到20世纪90年代以来中国电影艺术。90年代以来中国电影的后现代性,既包括对大陆电影传统思维、价值观念的颠覆和商业化运作过程中美学深度的消解,同样也包括香港周星驰"无厘头"影片的改写、仿拟和王家卫"风格化"电影的空间化、碎片式的结构,以及世纪初中国电影从形式主义到技术至上的转变,形成"主体的消失"和虚拟镜像。上述几个方面不但包括了中国后现代电影演进的阶段性,同时,还从整体上反映了中国电影后现代性的种种艺术构成。As a specific historical stage of cultural character, the post-modernity has exerted a profound impact on China＇s films since 1990s. The post-modernity of China＇s films since 1990s hasreflected not only in the aspect of subverting the traditional thinking of the mainland movie, values, and removing the aesthetic depth in the process of business operation, but also in the aspect of rewriting and imitating Stephen Chow＇s ＂nonsense＂ films. It also includes Wang Jia-wei＇s films and the changes of China＇s films from formalism to technical supremacy and the formation of the disappearance of the main and the virtual mirror at the beginning of the 21st century. The above-mentioned aspects manifest the evolution of the film＇s post-modern stage in China, and its various artistic constituents as a whole.

关 键 词：90年代以来 中国电影 “后现代性” 

分 类 号：J904[艺术—电影电视艺术]