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在中国当代电影中,“第五代”和“第六代”电影都有浓重的东方主义倾向,但两者是有区别的。“第五代”在他们的电影中作了大量传统“东方主义”的表述,“第六代”则在“东方主义”框架下构建出新的“他者”形象,并试图取代“第五代”与西方的“共谋”关系,获得自己在国内的“权力话语”。随着20世纪90年代后期中国电影工业体制的变化和民间资本的崛起,官方和资本完成了对“第六代”的合围,而“主流电影”话语也成为了真正意义上的权力中心,绝大多数“第六代”导演选择融入主流,放弃东方主义叙事,基本摆脱了东方主义困境,但同时也失去了其曾经赖以生存的西方市场。而有一小部分“第六代”导演仍在东方主义框架下进行新的尝试,其中最为成功的是贾樟柯,他灵活地游走在中西之间,依靠其对东方主义新的诠释在中国国内和西方都收获了成功。
In Chinese contemporary films, the “Fifth Generation” and “Sixth Generation” films all have strong orientalist tendencies, but there is a difference between the two. The Fifth Generation made a large number of traditional and Orientalist expressions in their films, and the Sixth Generation constructed a new “Other” within the framework of “Orientalism.” “Image, and try to replace the ” fifth generation “and the western ” conspiracy “relationship, get yourself in the country ” power discourse “. With the changes in China’s film industry system and the rise of private capital in the late 1990s, the government and capital have completed their encirclement of the ”sixth generation,“ while the ”mainstream movie“ discourse has also become truly At the center of power, the vast majority of directors choose to integrate into the mainstream, abandon the orientalist narrative and basically get rid of the predicament of orientalism, but at the same time they have lost the western markets that they once had to survive. However, a small part of the ”sixth generation" directors are still trying new attempts under the framework of orientalism. The most successful one is Jia Zhangke, who flexibly travels between China and the West and relies on his new interpretation of Orientalism in China Both domestic and western have gained success.