论第五代电影与第六代电影美学风格之不同——以《大红灯笼高高挂》和《紫蝴蝶》为例  

Difference of Aesthetics Styles between the Fifth Generation Films and The Sixth Generation Films——Taking Raise the Red Lantern and Purple Butterfly as an example

作　　者：李梦圆[1] 

机构地区：[1]复旦大学,上海200433

出　　处：《连云港职业技术学院学报》2014年第3期14-18,共5页Journal of Lianyungang Technical College

摘　　要：《大红灯笼高高挂》是1991年由张艺谋执导的影片,这部影片不仅代表了张艺谋影片的美学风格,而且从中可以发见第五代电影共同的美学风格。《紫蝴蝶》是上海电影制片厂摄制于2003年,由娄烨执导,刘烨、章子怡、李冰冰等主演的影片,这部影片不仅代表了娄烨影片的美学风格,而且从中可以发见第六代电影美学风格的重要向度。第五代电影试图探索民族文化的历史和民族心理的结构,偏向宏大叙事,电影借助视听效果、情境氛围、剧情人物等体现鲜明的民族历史性,象征寓意性强烈。第六代电影充斥着不确定性和怀疑态度,表现在视听上的反讽性、碎片化的叙事、虚无感的人物形象等方面。Raise the Red Lantern is the movie directed by Zhang Yimou in 1991. It represents not only the aesthetic style of films by Zhang Yimou, but also that of the fifth generation films. Purple Butterfly is the movie produced by the Shanghai Film Studio in 2003, directed by Lou Ye, and starred by Liu Ye, Zhang Ziyi, Li Bingbing, It represents not only the aesthetic style of films by Lou Ye, but also that of the sixth generation films. The fifth generation film attempts to explore the cultural history and national psychological structure, to apply the grand narrative, to reflect national historic brightness with the aid of audio - visual effects, the atmosphere and characters, and to have strong symbolic implications. The sixth generation film is full of uncertainty and doubts with irony, fragments of narrative and nihility characters in audio - visual forms.

关 键 词：第五代电影 第六代电影 美学风格 大红灯笼高高挂 紫蝴蝶 

分 类 号：J901[艺术—电影电视艺术]