商业与精英的两极——从冯小刚、姜文试论中国电影雅俗共赏之“殊途同归”

Two Extremes as Commercial and Classic——The "Same Goal by Different Routes" of Jiang Wen' s Highbrow and Feng Xiao-Gang' s Lowbrow

冯小刚、姜文作品是世纪之交中国电影最具代表性的影像实践,前者的草根心态、话语狂欢表现出当代中国电影所罕有的市民气质,但冯氏想像抚慰、调侃语调的自我解构表达方式,使得其电影的怀疑精神转向批判与颠覆的反面,呈现出虚无主义与现代犬儒式的人生态度;姜文以一种近乎"偏执"的艺术精神在工业化浪潮下追求"经典"与"不朽",成为《黄土地》以来中国人文/艺术电影最执着的"灵魂叩问者"。他怀抱"古典"电影艺术观,认为电影的思想艺术性是在拍摄过程中慢慢"生长"出来的,其间的意外、磨难、痛苦决定影片最终可能呈现出任何形态,但唯独不可能成为工业流水线上的标准产品。尽管冯小刚对商业元素的极致操作和姜文视艺术性为最高目标的努力并未达到各自的最佳状态,但他们的作品还是构成中国电影引人注目的"两极"探索,有望为已进退失据的中国电影提供一条摆脱"好莱坞效应"的本土化之路。

Both Feng Xiao-gang＇s works and Jiang Wen＇s works are representatives of the ChinesFe film at the turn of the century. While the former, through grass-roots mentality and carnival discourse, displays a kind of rare temperament in citizens, the latter, by way of the almost ＂paranoid＂ spirit of art, seeks for the ＂classic＂ and ＂ immortal＂ in the industrialized wave, and becomes the most dedicated ＂inquirer of soul＂ of the Chinese humanities film since Yellow Earth. Indeed, Jiang holds such a ＂ classic＂ viewpoint of film arts that he thinks that the ideological, artistic levels in films gradually ＂ grow＂ out of shooting process, in which, accidents, sufferings and pains determine all final forms excepting for the standard products on the assembly line. But Feng＇s expression of self-deconstruction, which has a kind of propitiatory imagination and ridiculous tone, makes his films turn from the suspected spirit to the reverse of criticism and subversion, showing a life attitude towards nihilism and modem cynicism. Although both Feng＇s manipulation of commercial factors and Jiang＇s effort to regard artistry as the highest goal can not be faultless, their works carry out a noticeable ＂extremes＂ exploration, thus supplying the Chinese film in dilemma with a way to indigenization, which gets out of the ＂ Hollywood effect＂.