摘要
自20世纪90年代早期开始,中国内地的电影文化面貌一直处于急剧的变化之中。十年之间自上而下的经济体制改革,加剧了国有电影制片厂面临的资金负担。当这些现实压力迫在眉睫时,一种标新立异的"小众电影"在国有制片厂的围墙内外蔚然兴起。代表着此类电影的主要是笔者和同行们称之为"都市一代"的导演及其拥趸。实际上,这种都市电影所拥有的社会影响力远远超出了"小众"的范围。这不仅由于它刚刚兴起,更是因为它非同一般地专注于1990年代以来的中国社会结构和城市身份的破坏与重建。"都市一代"电影带着独立徽章。虽然"独立"意味着重重负累,却仍然可以说这是它最为重要的属性,很多更年轻的导演从一开始就确立了其在体制和资金上的独立性。他们辞去了国有制片厂分配的工作,投入到小成本的地下电影中,而且在未得到官方许可的情况下参加国际电影节。从这个意义上说,"都市一代"同由国家教育和分配工作的前几代导演最关键的区别就在于不同的社会身份、专业身份和美学观点。作为"都市一代"的一个重要分支,"业余电影"的出现与新纪录片运动十多年的发展有着不可分割的联系。该运动与实验叙事电影发展轨迹平行,有时相互交叉,从技术手段来看,"业余电影"作为一种电影实践的民主形式,对其概念形成及广泛传播发挥重要催化作用的不是笨重的胶片摄像机,而是视频摄像机以及更时兴的数码摄像机和编辑软件。文章最后一部分大致勾画出世纪之交迅速涌现的影迷俱乐部团体及其新的观看方式,强调了"都市一代"作为一个用来描述和分析的范畴所具有的广阔的经验范围以及概念上的种种可能性。作为分散在各地但却通过互联网和参观活动越来越紧密地联系在一起的力量,这些地方小团体逐渐形成了非正式的草根运动。从私人性的影吧,到游牧式的影迷俱乐部,再到特定类型的电影形式(尤其是短片和DV电影),它们把这种草根运动包装成了潜力巨大的"小众"电影,这种潜力足以令电影的知识和实践从此转型。
Since the early 1990s the landscape of film culture in China's Mainland has been radically reshaped. While the state-owned studios have been faced with the dire reality of financial and ideological constraints exacerbated by the top-down institutional reforms of the mid-decade, there has emerged both within and outside of the studio walls an alternative or ＂minor cinema＂. This cinema is largely represented by what the author and other critics call the ＂ Urban Generation＂ filmmakers and their supporters, followers, and fans. The actual far from ＂ minor＂ significance of this urban cinema stems not so much from its recent arrival as from its singular preoccupation with the destruction and reconstruction of the social fabric and urban identities of post- 1989 China. The badge of independence, with its troubled baggage, is perhaps the single most important attribute of the Urban Generation. Many younger filmmakers, however, have identified themselves at the outset as institutionally and financially independent. They have resigned from assigned jobs in state-owned studios, engaged in underground low-budget productions, and participated in international film festivals without official sanction. In this sense, the key difference between the Urban Generation and the earlier generations of filmmakers, who were trained and employed by the state is defined by their different social and professional identities as well as by their aesthetic outlooks. The advent of the ＂ amateur cinema＂ as a significant ramification of the Urban Generation cannot be separated from a decade-long struggle of the new documentary movement, which has run a parallel, at times intersecting, course alongside the experimental narrative film. In terms of technology and method, instead of the bulky film camera it is the video camera and, more recently, digital video and editing software that has served as the critical catalyst for the conception and dissemination of ＂ amateur cinema＂ as a democratic form of film practice. Finally, the author makes a sketch of a fast-emerging cineclub community and alternative film spectatorship around the turn of the century in part to underscore the broad em- pirical range as well as conceptual possibility of the Urban Generation cinema as both a descriptive and analytical category. As forces that are dispersed yet increasingly joining together through the Internet and touring programs, these localized small groups are coalescing into an informal grassroots movement. The intimate movie bars, the nomadic style of the cineclub operations, and the diversity of the chosen film forms and formats （ especially the shorts and DV film） encapsulate this grassroots movement as a ＂minor cinema＂ that potentially can reshape the structure of film knowledge and practice.
出处
《上海大学学报（社会科学版）》
CSSCI
北大核心
2009年第4期96-113,共18页
Journal of Shanghai University(Social Sciences Edition)
关键词
社会转型期
中国都市电影
小众电影
独立电影
都市一代
the era of the social transformation
Chinese urban cinema
minor cinema
independence cinema
Urban Generation
作者简介
张真（1961-），女，上海人。纽约大学电影学系教授。
