论新时期以来各代导演的乡土意识

The Local Consciousness of the Directors of All Generations since the New Period

新时期以来,乡土电影始终是各代导演们创作的主要阵地。文革后开始创作的第三、四代导演在乡土之作中流露出诗化历史的主体意识,而更为激进的第五代导演面对乡村时却呈现出批判与留恋的矛盾现象。进入90年代后,第六代导演在多元文化语境下的乡村叙事,聚焦于乡村现状。作为艺术文本的创作群体,电影人无疑具有鲜明的精英立场,透过他们的乡土意识,可以看到中国知识分子的文化心理与近代社会自身的变迁。

Since the new period, the local film has always been the main position for the directors of all the generations. After the Cultural Revolution, the third, fourth generation directors began to show the poetic subjective consciousness in their rustic movies, while the more radical fifth generation directors faced the contradiction between criticism and nostalgia when dealing with the countryside themes. After entering the 90s, the sixth generation of directors conducted a rural narrative in the multi - cultural context, focusing on the status quo in the countryside. As a creative group of artistic texts, filmmakers undoubtedly have a distinctive elite standpoint. Through their local consciousness, we can see the cultural psychology of Chinese intellectuals and the changes of modern society itself.