贾樟柯电影的生命美学范畴

The Category of Life Aesthetics in Jia Zhangke’s movies

当代中国电影习惯把人纳入宏大的家国叙事之中,而缺少了表现生命本身的质感。20世纪90年代,中国新生代导演贾樟柯开始创作,他在《小武》中以“恶”的身份和人性“劣”根的寄植,塑造了影史上小武这一典型的否定性艺术形象,建立了“真”的生命品格。同时,在《站台》《任逍遥》《三峡好人》《山河故人》《江湖儿女》为主的作品里,他让底层及边缘的人物始终处于忧境,亲历着忧虑和忧伤的生命状态,形成了以“忧”为美的美学特征。贾樟柯在影像中建构的这些生命美学范畴,对新时代影视艺术形象转向生命本体的关照具有重要范导意义。

Contemporary Chinese movies are used to include people in the grand narrative of their home country,but lack the expression of quality of life.In the 1990s,the new generation of Chinese movie director Jia Zhangke began the process of creation.In“Xiaowu”,he portrayed a character as the“evil”identity and the root of the“inferior”human nature,which shaped the typical negative art image of Xiaowu in film history,established a“true”life character.At the same time,in the works such as“Platform”,“Ren Xiaoyao”,“A Good Person of Three Gorges”,“Old Friends of Mountains and Rivers”and“Children of Rivers and Lakes”,he keeps the characters at the bottom and the edges of society,always in a state of sorrow,experiencing the life state of worry and sorrow,forming the aesthetic characteristics of“worry being beautiful”.These categories of life aesthetics constructed by Jia Zhangke in the films have important guiding significance for the aesthetics perspective shifting from film and television art image to the life ontology in the new era.