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作 者:李宁 Li Ning
机构地区:[1]北京师范大学艺术与传媒学院
出 处:《文学与文化》2022年第3期107-114,共8页Literature and Culture Studies
基 金:国家社会科学基金青年项目“当代中国电影中的青年形象与文化编码研究(1978—2018)”(19CZW9041)的阶段性成果。
摘 要:20世纪80年代,《陈奂生上城》《黄山来的姑娘》《合成人》等电影以差异化的“乡下人进城”叙事透射出独特历史时期的城市化进程与现代化经验。《陈奂生上城》以农民陈奂生的临时性进城展现出传统城乡二元结构稳固时期城市所扮演的景观角色,并借助陈奂生的困惑预示着即将到来的城市化浪潮对乡土与乡民的改造。《黄山来的姑娘》以性别化与去阶级化的方式想象了改革开放时代新型的雇佣劳动主体,构想了农民工和谐融入城市的图景,甚至理想化地畅想了城乡差异得以弥合、城乡一体化发展的虚妄未来。《合成人》则以农民思维注入经理身体的科幻/荒诞设置,呼应了彼时的“民工潮”,展现出城乡差距再次拉大、二元壁垒再次固化的现实,也预示了进城者们既无法进城也无法返乡的悲剧性命运。三部影片以迥异的城市体验,串联起了改革开放初期我国城乡关系的复杂变化。In the 1980s,movies such as Chen Huansheng Went to Town,A Girl from Huangshan Mountains,and The Synthetic Man reflected the urbanization process and modernization experience of a unique historical period with their differentiated narratives of“countrymen entering the cities”.Chen Huansheng Went to Town shows the role of the city as spectacle during the period of the traditional urban-rural dichotomy,and uses Chen Huansheng’s confusion to foreshadow the coming wave of urbanization that will transform the countryside and its people.A Girl from Huangshan Mountains imagines a new type of waged labor subject in the era of reform and opening up in a gendered and de-classified way,envisioning the harmonious integration of migrant workers into the city,and even idealizing a delusional future in which urban-rural differences can be bridged and urban-rural integration can develop.The Synthetic Man,on the other hand,echoes the“migrant labor wave”of the time with a sci-fi setting in which peasant minds are injected into the bodies of managers,showing the reality that the gap between urban and rural areas has widened again and the binary barrier has solidified again,and foretelling the tragic fate of those who have entered the city and cannot return to their hometown.The three movies link the complex changes in the relationship between urban and rural areas in China during the early years of reform and opening up with very different urban experiences.
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