發(fā)布時(shí)間：2018-07-07 12:00

  本文選題：電影 + 新時(shí)期��； 參考：《南京師范大學(xué)文學(xué)院學(xué)報(bào)》2017年03期

【摘要】：新時(shí)期以來(lái),鄉(xiāng)土電影始終是各代導(dǎo)演們創(chuàng)作的主要陣地。文革后開始創(chuàng)作的第三、四代導(dǎo)演在鄉(xiāng)土之作中流露出詩(shī)化歷史的主體意識(shí),而更為激進(jìn)的第五代導(dǎo)演面對(duì)鄉(xiāng)村時(shí)卻呈現(xiàn)出批判與留戀的矛盾現(xiàn)象。進(jìn)入90年代后,第六代導(dǎo)演在多元文化語(yǔ)境下的鄉(xiāng)村敘事,聚焦于鄉(xiāng)村現(xiàn)狀。作為藝術(shù)文本的創(chuàng)作群體,電影人無(wú)疑具有鮮明的精英立場(chǎng),透過(guò)他們的鄉(xiāng)土意識(shí),可以看到中國(guó)知識(shí)分子的文化心理與近代社會(huì)自身的變遷。
[Abstract]:Since the new era, the local film has always been the main position of the directors. The third and fourth generation directors who began to create after the Cultural Revolution revealed the subjective consciousness of poetic history in their local works, while the more radical fifth generation directors showed contradictory phenomena of criticism and nostalgia in the face of the countryside. After the 1990's, the sixth generation of directors in the multicultural context of rural narration, focused on the rural situation. As a creative group of artistic texts, filmmakers undoubtedly have a distinct elite stand. Through their local consciousness, we can see the cultural psychology of Chinese intellectuals and the changes of modern society itself.
【作者單位】： 南京師范大學(xué)文學(xué)院;
【分類號(hào)】：J911
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本文編號(hào)：2104898