元电影与反身性:华语新生代导演的作者表述  

Meta-film and Reflexivity:The Author's Statement of the New Generation of Chinese Directors

作　　者：李梓溪 王文斌 Li Zixi;Wang Wenbin

机构地区：[1]武汉大学艺术学院

出　　处：《四川戏剧》2025年第1期92-97,共6页Sichuan Drama

摘　　要：近年来,具有作者倾向的新生代导演在元电影的创作过程中表现出强烈的反身性特征,其个体生命经验与此种自我指涉的电影实践形成相互诠释的循环映射。以新生代导演自反于元电影内部的身份进行分类,魏书钧和刘伽茵为元电影的缔造者,陈翠梅和大鹏为元电影的参与者,黄信尧为元电影的讲述者。基于社会学家项飙提出的“小世界”概念,这些元电影创作所表现出的反身意义自作者的“小世界”始发,降落于影片内部的故事世界,并在多重自反的循环间由银幕延伸至现实世界。元电影与反身性不但成为当下华语新生代导演的表述特征之一,而且还在作者的演绎下“把自己作为方法”,超越性地显现出作为主体如何由自身抵达世界的方法论意义。In recent years, the new generation of Chinese directors with authorial tendency have shown strong reflexive characteristics in the creation process of meta-film. Their individual life experience and the corresponding self-referential film practice form a circular mapping of mutual interpretation. According to the identity, Wei Shujun and Liu Jiayin are the founders of the Yuan film;Chen Cuimei and Da Peng are the participants of the Yuan film;and Huang Xinyao is the narrator. Based on the concept of "small world" put forward by sociologist Xiang Biao, the reflexive meaning of these meta-film creations originates from the author's "small world", lands in the story world inside the film, and then extends from the screen to the real world in multiple reflexive cycles. Meta-film and reflexivity not only constitute one of the expression characteristics of the current Chinese new generation of directors, but also realize the expectation "take themselves as a method" in the process of the self-externalization of the author, transcendently showing the methodological significance of how to reach the world as a subject by itself.

关 键 词：元电影 反身性 华语新生代导演 作者表述 

分 类 号：J911[艺术—电影电视艺术]