作業(yè)講解fanyizuoyeyanshiwengao-資料下載頁
2024-10-09 15:19本頁面
【正文】 multipolarized pattern of this thought. 2022年之后，中國大陸出現(xiàn)了幾部重要的女性電影，新生代女性導(dǎo)演們不約而同地在電影中建立了一個(gè)男性主體缺失的女性空間，導(dǎo)演以極其個(gè)人化的視角關(guān)注了女性獨(dú)特的生命經(jīng)驗(yàn)、內(nèi)在心理以及成長歷史，體現(xiàn)并解構(gòu)了性別關(guān)系中所隱含的權(quán)力結(jié)構(gòu)和文化秩序，這些女性電影形成了一個(gè)具有強(qiáng)烈的女性意識(shí)和文化自覺的女性主義電影思潮。 After 2022, there appeared several important female movies in the mainland China, in which the newgeneration female directors coincided to build the female space in the films without the principal part of the male actors. Using ultrapersonalized perspective, these female directors paid much attention to the unique female life experience, inner world and the process of development, which represented and deconstructed the rights construction and the cultural order implied by the relationship between the two sexes. These female films formed a feminist movie thought which was characterized by a strong awareness of being female and a cultural consciousness. 如同第五代老先鋒的瓦解與墜落一樣，第六代電影也最終與大眾文化合流，其先鋒電影實(shí)踐告一段落。 Just like the old pioneering films of the 5th generation which collapsed and degenerated, the 6th generation films ultimately mixed up with the popular culture. The practice of the pioneering films had finished a stage. 中國當(dāng)代先鋒電影的失落源于其自身存在的悖論：一方面是變化原本就是現(xiàn)代性傳統(tǒng)，先鋒電影具有內(nèi)在的否定自身的傾向，并最終為主流 /商業(yè)文化所利用，先鋒電影的成功也就是失?。? The downfall of the contemporary Chinese pioneering films is attributed to its inner paradox: on the one hand, the change itself is just the modern tradition, so the pioneering films have the tendency to negate them selves and are finally utilized by the mainstream or mercial culture, which gestates its failure from its success。 另一方面是中國當(dāng)代先鋒電影的后殖民性往往消解其本土性的文化內(nèi)涵，成為西方文化霸權(quán)的鏡中幻象，先鋒電影商業(yè)化的生存方式是其落網(wǎng)其中的主要原因。 on the other hand, the postcolonization dissolves the native cultural connotation and the pioneering films bee the idol in the mirror in the hegemony of the western culture, so the survival method of being mercialized is the main reason for their downfall. 從第五代電影到第六代電影，中國當(dāng)代先鋒電影思潮經(jīng)歷了從啟蒙主義到后現(xiàn)代主義的轉(zhuǎn)遞，潮起潮落間卻有著內(nèi)在的驅(qū)動(dòng)力貫穿其間，那就是人們對(duì)于束縛和禁錮的超越，對(duì)自由和解放的追求，對(duì)于美的向往和沉迷，而先鋒電影的顛覆性、革命性、實(shí)驗(yàn)性正是這種超越和追求的具體化。 From the 5th generation to the 6th generation, the thought of the contemporary Chinese pioneering films experienced the transition from the enlightenment to the post modernism, with an inner drive in its ups and downs. That is to transcend the fetters and durance, to seek the freedom and liberation, to yearn towards and wallow in the beauty. The subversion, revolution and experimentation of the pioneering films are just the concrete realization of the transcending and seeking.
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