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中国城市电影与城市化进程关系密切,从第五代导演开始,城市电影所呈现的生活逐渐从戏剧冲突中脱离出来,成为现象学意义上的日常生活。物在日常生活中有划分主体身份和勾连主体情感两种中介性表现。新都市电影中的物主要以区隔主体身份为中介,凸显商品拜物教对人际交往的影响;而第六代导演的城市电影则更为深刻地切入生活肌理,将物的两种中介性相互交错地加以展示,并提供批判视角。城市电影对生活的反映及其理论反思都有待深入。
Since the fifth generation of directors, urban movies in China are gradually separated from drama conflicts and become the daily life in the sense of phenomenology. In everyday life, there are two kinds of intermediated performance of dividing the main body identity and connecting the main body emotion. The material objects in the new metropolitan cinema are mainly mediated by the identity of the main body, which highlights the influence of commodity fetishism on interpersonal communication. However, the sixth-generation directors’ urban films are more deeply cut into the texture of life and interweave the two intermediaries of the objects To show, and provide a critical perspective. City movies reflect life and its theoretical reflections have to be further.