新时期中国电影的美学困顿

Aesthetic Puzzles of Current Chinese Movies

新时期的中国电影存在着美学上的困顿,第四代和第五代电影的反思和寻根在很大程度上是在社会意识的层面上展开的;"后第五代"的影片则注重对自我感觉和情感的发掘,缺失普遍意义和美学品格。这两种倾向的共同缺陷在于他们的价值理念完全依附在现世人生的浅表层面上,匮乏一以贯之、不受时尚风流左右的精神信仰,没有深入到本体论、生存论意义上的真理层面,无法为自己的电影存在确立一个终极性的超越维度,从而陷入美学困顿。因此,重申电影的美学精神,让电影关注人的生存和生命,建立电影与人的心灵的联系,是当下中国电影的命运所系。

The Chinese film has now encountered some aesthetic puzzles. The reflection and root seeking of the fourth and fifth generation films have to a large extent proceeded over social consciousness, while ＂the post-fifth generation films＂ paid more attention to the exploration of self sensation and emotions, which, however, lack universal significance and aesthetic characteristic. The common defects of the two inclinations lie in that their values are totally subject to a low and shallow level of the present life; that is, they lack a coherent and de-fashioned spiritual belief. In other words, they fail to reach a noumenal or vitality height, and cannot set forth an ultimate surmountable dimension for existence of their films, so they have fallen into aesthetic puzzles. Accordingly, to reclaim the aesthetic soul of movies that could attend to human being＇s existence and life and set up the association between movies and men, concerns the fortune of the current Chinese films.