论新时期以来各代导演的乡土意识

发布时间：2018-07-07 12:00

  本文选题：电影 + 新时期　； 参考：《南京师范大学文学院学报》2017年03期

【摘要】：新时期以来,乡土电影始终是各代导演们创作的主要阵地。文革后开始创作的第三、四代导演在乡土之作中流露出诗化历史的主体意识,而更为激进的第五代导演面对乡村时却呈现出批判与留恋的矛盾现象。进入90年代后,第六代导演在多元文化语境下的乡村叙事,聚焦于乡村现状。作为艺术文本的创作群体,电影人无疑具有鲜明的精英立场,透过他们的乡土意识,可以看到中国知识分子的文化心理与近代社会自身的变迁。
[Abstract]:Since the new era, the local film has always been the main position of the directors. The third and fourth generation directors who began to create after the Cultural Revolution revealed the subjective consciousness of poetic history in their local works, while the more radical fifth generation directors showed contradictory phenomena of criticism and nostalgia in the face of the countryside. After the 1990's, the sixth generation of directors in the multicultural context of rural narration, focused on the rural situation. As a creative group of artistic texts, filmmakers undoubtedly have a distinct elite stand. Through their local consciousness, we can see the cultural psychology of Chinese intellectuals and the changes of modern society itself.
【作者单位】： 南京师范大学文学院;
【分类号】：J911
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本文编号：2104898