“第六代电影”中死亡叙事的特异性分析

The Analalysis of Specificity of Death Narrative about the Sixth Generation Film

第六代电影人不再把死亡当作宏大叙事的一个载体,而是对死亡现象有了更多的思辨,并且在对其的审美表现上进行了更深层寓意的编码。除了对死亡意义进行后现代式的解构外,更多地致力于死亡意象的虚构、营造与假定,由此打通死亡叙事与美学的通道,在审美层面拓展死亡的表现空间,表达对当下的生存体验和生存之思,并通过对死亡的想像性超越,表现出一种对生命的救赎情怀。

The Sixth Generation Film directors no longer regard the death as a body of grand narrative, but think more about the phenomenon of death and seek deeper implied meaning from its aesthetic form. Besides the post- modern deconstructing on the meaning of the death, they concentrate on the imagination, construction and suppose of the death imagination which breaks through the passage from death narrative to aesthetics and so the performance space of the death is expanded. They show their experiences and thinking about living and express their redeem feeling to life by the way of imaginary transcendence of life.