抒情传统下第四代电影的三副诗面孔

Three Poetic Faces of the Fourth Generation of Films under the Lyrical Tradition

新时期,第四代电影人在中国抒情传统下进行的现代探索不仅丰富了中国诗电影构建,“抒情”也成为中国电影现代化的试验场、缓冲垫,以极大的包容性缓和了传统与现代、中西方电影文化的矛盾冲突。第四代电影人在诗电影创作上呈现出三种不同路径:或延续吴永刚、郑君里、费穆等人开拓的古典诗情电影传统;或运用西方现代主义技巧促成诗电影现代转化;或在继承现实主义传统的基础上,以抒情为基底,促成多元现实主义的融合。以此形成的三幅诗面孔,以及三者之间的叠影,构成新时期中国诗电影旖旎且朦胧的形貌。

In the new era,the fourth generation of filmmakers,in their modern exploration,has greatly enriched Chinese poetry films under the Chi-nese lyrical tradition.By so doing,they have transformed the lyrical tradition into a testing ground and cushion pad of the modernization of Chinese films,which has largely mitigated the conflicts between tradition and modernity,and Chinese and Western film cultures.The fourth generation of filmmakers pres-ented three different paths in poetic film creation:first,some of them conti-uned the tradition of classical poetic films pioneered by Wu Yonggang,Zheng Junli,and Fei Mu;some of them used Western modernist techniques to pro-mote the modern transformation of poetry films;the rest took lyricism as the source and lyrical tradition as the basis in their promotion of the integration of multiple realism.The three types of poetic films formed as such,as well as the overlap between them,constitute the rich appearance of Chinese poetry and film in the new era.