未完成的启蒙:中国独立电影的边缘关注——贾樟柯案例研究

Unfinished Enlightenment:Marginal-Culture Concerns of Chinese Independent Films——Case Research of Jia Zhangke

从尼采伊始的后现代主义对“启蒙”的祛魅让现代性不再一味包裹在技术和文明带来的荣耀之中,“启蒙”本身的多义性也在文化研究的对话氛围中得到确认。独立电影《小武》本身的启蒙性、纪实性以及边缘关注是其成为案例的契机。一方面,主人公“小武”是导演贾樟柯启蒙视角下被代表的沉默个体,其边缘与主流共存的矛盾性揭示了中国现代化发展时期启蒙的多重悖论;另一方面,电影中“小武”走向社会需求与心理需求的双重缺憾,印证了现代性在特定环境下对个体空间的挤压。20世纪90年代精英知识分子的启蒙立场和边缘关注是文化多元化的果实,也是迎接更复杂文化语境的准备。

The disenchantment of“enlightenment”by postmodernism from the beginning of Nietzsche has made modernity no longer blindly wrapped in the glory of technology and civilization.The ambiguity of“enlightenment”itself has also been confirmed in the dialogue atmosphere of cultural studies.The enlightenment,documentary and marginal attention of the independent film Xiao Wu is the opportunity for it to become a case.On the one hand,the protagonist“Xiao Wu”is a silent individual represented from the perspective of director Jia Zhangke′s enlightenment.The contradiction between its marginal and mainstream coexistence reveals the multiple paradoxes of enlightenment in the development of China′s modernization period;on the other hand,the double shortcoming of“Xiao Wu”in the film′s social and psychological needs confirms the squeeze of modernity on individual space in a specific environment.The enlightenment position and marginal attention of the elite intellectuals in the 1990s were the fruits of cultural diversity and preparations for a more complex cultural context.