存在主义、法国“新浪潮”与中国第六代电影

Existentialism,French "New Wave" and Chinese Films of Sixth Generation

从存在主义思潮和法国"新浪潮"电影之间的精神渊源与承续关系入手,总结中国第六代电影的基本特征和存在的缺憾。第六代电影把当下世俗生活置于首位,关注个体的生存状态,集中于小人物的现实经验和内心世界,表现当代人生存处境的荒谬和人性的异化以及在困境中的挣扎、无奈,在歧途上的迷乱、失落。在艺术手法上,不再遵循线性因果关系的叙事原则,而是接近生活原貌的非情节性叙事。通过物象和叙事的双重仿真形成冷峻、客观纪实的影像风格。

From the origin and connecting relationship between existentialism and the so-called French ＂New Wave＂,summarize the general features and defects of Chinese sixth generation films,which put the modern secular life into primacy,observe current individual living conditions and focus on the practical experience and inward world of those small potatoes,reflecting the absurdity of contemporary people＇s living condition,the alienation of human nature,the struggle and desperation in predicament and their puzzlement together with the sense of loss at the crossroads.As for the means of artistic expression,there is no pursuit of the narrative principle — linear causal relationship.Instead the narrative principle turns to non-plot way,which is more close to the original appearance of life itself.This strategy forms the image style as grave,stern,objective and documentary through double emulation of image and narration.