摘要
第六代及新生代导演在市场化和全球化语境下不断进行的艺术探索中,隐含着一种对电影本体进行反身性观照的策略,并在密切的互文性中表现出一种元电影意识。他们这些带有元电影意识的电影文本往往以叙事层次的打破及主体性的确立,实现"现实"中的"我"的主体意识表达,通过反身性意识中电影本体的凸显,实现从"我"到"元"的美学意识转换,而在"大我"与"大电影"文化意识的自觉践行中,最终实现中国文化自觉与文化自信的表达与彰显。
The continuous artistic exploration of directors of the sixth generation and the new generation in the context of marketization and globalization implies a strategy of reflexive reflection on the film itself and a meta-cinema consciousness in the close intertextuality.They tend to these with meta-cinema consciousness text narrative levels of break and the establishment of subjectivity,to achieve the subject consciousness of the"I"in the"real"expression,highlighted by reflexivity consciousness of movie ontology,realize from the"I"to"Meta"the aesthetic consciousness of transformation,and in the"I"and"the movie"cultural consciousness consciously practice,finally realize the expression of Chinese cultural awareness and cultural self-confidence and reveal.
出处
《电影艺术》
CSSCI
北大核心
2020年第1期100-105,共6页
Film Art
基金
上海市哲学社会科学中青班项目“中国故事原型要素与中国当代电影的类型化策略”(项目号:2018FZ004)阶段成果.
关键词
第六代导演
新生代导演
元电影意识
电影本体
反身性
文化自信
the sixth generation of directors
the new generation of directors
meta-cinema awareness
film ontology
reflexive
cultural confidence
