元电影策略、媒介自反与迷影话语:魏书钧电影的作者性建构  

Meta-Cinematic Strategies, Media Reflexivity, and Cinephilic Discourse: The Auteur Construction in Wei Shujun's Films

作　　者：虞吉[1] 刘昌録 Yu Ji;Liu Changlu

机构地区：[1]西南大学新闻传媒学院

出　　处：《四川戏剧》2025年第1期87-91,共5页Sichuan Drama

摘　　要：作为区别于聚焦个人生命体验书写的电影界第六代导演的创作群体,“新生代”导演在创作初期便呈现出多元化的美学倾向,在商业与个人艺术选择的权衡中完成了作者的命名。魏书钧作为该创作群体的青年导演,自短片作品《延边少年》荣获戛纳电影节主竞赛单元短片特别荣誉奖后便备受关注;在后续创作中,他将“元电影”元素与电影文本深度结合,通过自我指涉完成对电影行业自身的剖析,形成了风格鲜明的创作表征。梳理魏书钧的作品序列,“元电影”元素的承继与延变确定了其作者性的建构。Unlike the Sixth Generation directors who focus on writing about personal life experiences, the "New Generation" directors have demonstrated diverse aesthetic tendencies from the outset of their careers, balancing between commercial and personal artistic choices to establish their auteur identity. Wei Shujun, a young director within this creative group, gained significant attention after his short film Yanbian Boy won the Special Mention Award in the Short Film Competition at the Cannes Film Festival. In his subsequent works, Wei deeply integrates "meta-cinema" elements into his film texts, utilizing self-referentiality to analyze the film industry itself, thus forming a distinctive creative style. By examining Wei Shujun's body of work, the inheritance and evolution of "meta-cinema" elements have become central to the construction of his auteur identity.

关 键 词：元电影 自反性 迷影互文 魏书钧 

分 类 号：J905[艺术—电影电视艺术]