“故乡”修辞的拆解与重建——由“巫山—三峡”看第六代焦虑观蜕变的可能性症候

Deconstruction and Reconstruction of Rhetoric of "Hometown"

对第六代进行比较是很困难的,因为第六代的风格不再是规整的,集中的,而是散点式个人化表达的呈现,对个人象征的迷恋日渐隔阂了其电影文本的亲民性。这里出现了历史性的因缘际会,两部同时三峡题材的电影,而恰恰都位居第六代序列。章明的《巫山云雨》吹响了第六代先锋号——极端自我的内向度表达;贾樟柯近期的《三峡好人》则在第六代静观基础上尝试了一次整体象征和日常性民间生活的链接,这样似乎给了我们期待:第六代的底边叙事能否走出个人焦虑的漩涡,带给我们一种生命力的勇气。

It is very difficult to make a comparison between directors of the sixth generation, because their styles are no longer regulated or intensive, but divergent. They focus more on presenting personalized expression. In recent years, two films about Three Gorges were both produced by directors of the sixth generation. Ming＇s Rain and Clouds over Wushan Mountains is a pioneer of the sixth generation, which pays too Zhang much attention to the inward self -expression, while Jia Zhangke＇s Good Man in Three Gorges, based on quiet observation, tries on the holistic symbohzation and the linkage of the sixth generation can get out of the whirlpool with daily folk life. This seems to make us expect that the narration of the personal anxiety and bring us courage of life.