从跨区到共时:“两岸影像新世代”形成的可能性

From Cross-region to Synchronism: The Possibility of Forming a New Generation of Cross-Strait Images

在2010年之前的八十多年两岸电影关系史中,中国台湾地区和大陆地区电影的创作者错位链接、跨域接合,在表现对象和艺术方法的时间轴上,有鲜明的不共时错位特点。受益于全球化和华语电影工业汇流的推动,两岸电影近十年来的互动合作,进一步缩小了影像生产中的时间差,使华语电影的跨区域操作具有越来越明显的一体化特征,这种跨区的、共时性的影像生产引发了我们关于“两岸影像新世代”的期许。中国台湾地区与大陆地区电影的统合,以及全球电影的跨界潮流,正对两岸电影的创作者发展出不同的拉力,如何同时兼顾资本跨区强力和文化在地性格的辨证影响,创造出“和而不同”的华语电影美学,已成为“两岸影像新世代”的重要使命。

Benefiting from globalization and the convergence of the Chinese film industry,The interactive cooperation of films between the Taiwan Straits in the past ten years further reduces the time lag in image production and makes the cross-regional operation of Chinese films more and more obvious.This cross-regional and synchronic image production has triggered our expectation of a"new generation of cross-strait images".The integration of Taiwan and mainland movies and the cross-border trend of global movies are exerting different pulls on the creators of films on both sides of the Taiwan Strait.It has become an important mission for the"new generation of cross-strait images"to create a Chinese film aesthetics of"harmony but difference"by taking into account both the cross-regional power of capital and the dialectical influence of culture on the local character.