“第五代”与中国电影理论“现代化”

The “Fifth- generation”Directors and Modernization of Chinese Film Theory

20世纪80年代是一个不平凡的年代。文学、美术、音乐、绘画都在这一时期涌现出了大量具有划时代意义的人物和作品。在电影研究领域,一次意义非凡的"现代转型"也悄然发生。观念的变革牵动创作技艺的革新,创作技艺的革新再反馈于理论及批评,而新的理论和对创作的批评式反思则触发更多的创作灵感。本文试图在对历史"文本"的重读中,厘清新时期中国电影理论发展和"第五代"电影人和他们早期"先锋"作品的关系,为更加全面地理解"第五代"提供一个新的视角。

1980s is an extraordinary era in which numerous epoch- making people and masterpieces emerged in literature, arts, music and paintings. In the film study, a remarkable ＂modern transformation＂ occurred quietly. The changes in concept affected the innovations in creative techniques that were reflected in the theory and criticism and in turn they stimulated more creative inspirations. This paper attempts to reinterpret the historic ＂texts＂ to clarify the relationship between the development of Chinese film theory and the ＂fifth - generation＂ directors with their ＂avant - garde＂ works and thus to throw new light on the ＂fifth -generation directors＂.