新生代电影创作者的身份坐标——代际划分、文化属性与工业美学范式

The identity coordinates of the new generation film creators:Intergenerational division,cultural attributesand industrial aesthetic paradigm

在“第五代”部分干将逐渐消隐、“第六代”故步自封的当下,“新生代”群体已然成为国产电影创作的主力干将。对于“新生代”的身份坐标,学界目前仍然在探讨与辨析。事实上,理解“新生代”群体的身份坐标,首先要明确新生代创作者的内涵指涉与整体画像,需从代际划分、文化属性与美学范式三个坐标轴予以厘清,从而知道“新生代”指涉的是怎样的“一代人”。首先,代际划分确认了新生代电影创作者的“电影史坐标”,需厘清“新生代”与“第七代”“Y世代”的内涵差异。其次,文化属性确认了新生代电影创作者的“时代文化坐标”,新媒介、类型化与互文游戏构成了新生代影人群体最核心的文化属性。最后,工业美学范式则确认了新生代电影创作者的“创作理念坐标”,与前代影人群体不同,新生代是文化工业环境中成长的一代,标准化审美、叙事化导向以及对于技术展示的热衷成为他们尤为显著的创作特点。代际划分、文化属性与美学范式三者相辅相依,共同构建了“新生代”的身份坐标轴,开创了当下中国电影创作的新局面。同时,对于“新生代”以“文化工业”作为创作路径带来的弊病,学界应给予充分关注,“新生代”群体也需要自我反思、不断革新,从而承担起中国优质文化走向世界的重任。

As the“fifth generation”of film directors gradually fades away and the“sixth generation”becomes complacent,the“new generation”has become the main force in domestic film creation.The academic community is still exploring and analyzing the identity coordinates of the“new generation”.In fact,to understand the identity coordinates of the“new generation”,it is first necessary to clarify the connotation and overall portrait of the new generation creators.It is necessary to clarify from three coordinate systems:intergenerational division,cultural attributes,and aesthetic paradigms,in order to know what kind of“generation”the“new generation”refers to.Firstly,the intergenerational division confirms the“film history coordinates”of the new generation of film creators,and it is necessary to clarify the connotation differences between the“new generation”,the“seventh generation”,and the“Y generation”.Secondly,cultural attributes confirm the“era cultural coordinates”of the new generation of film creators.New media,typology and intertextuality games constitute the core cultural attributes of the new generation of film makers.Finally,the paradigm of industrial aesthetics confirms the“creative concept coordinates”of the new generation of film creators.Unlike the previous generation of filmmakers,the new generation is a generation that grows in the cultural industry environment,with standardized aesthetics,narrative orientation,and a passion for technological display becoming their particularly prominent creative characteristics.Intergenerational division,cultural familiarity,and aesthetic paradigms complement each other,jointly constructing the identity axis of the“new generation”and creating a new situation in current Chinese film creation.At the same time,the academic community should also pay sufficient attention to the drawbacks brought about by the“new generation”using“cultural industry”as the creative path.The“new generation”also needs to reflect and constantly innovate,in order to shoulder the responsibility of China’s excellent culture going global.