The urban generation : Chinese cinema and society at the turn of the twenty-first century
The urban generation : Chinese cinema and society at the turn of the twenty-first century
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城市一代:二十世纪之交的中国电影与社会
DOI：
10.1215/9780822390008
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发表时间：
2007
期刊：
影响因子：
--
通讯作者：
S. Lu
中科院分区：
文献类型：
--
作者：
Zhen Zhang;Jason McGrath;C. Berry;S. Lu
自 20 世纪 90 年代初以来，虽然中国大陆的国有电影制片厂一直在财政和意识形态的限制下苦苦挣扎，但令人兴奋的另类电影却已发展起来。这个被称为“城市一代”的新电影院是由1989年天安门广场事件阴影下崛起的年轻电影制作人推动的。“城市一代”的标题下，不同的导演将不同的导演团结在一起，因为他们对中国正在发生的痛苦的经济和社会转型进行了创造性的参与。城市一代电影制片人是当代中国大规模城市化引发的困惑和焦虑的先锋诠释者。该合集汇集了有关这一新兴电影及其与中国社会关系的一些最新原创研究。
撰稿人分析了城市一代产生的历史和社会条件、其审美创新以及其与中国主流电影产业和国际电影市场的矛盾关系。撰稿人将注意力集中在城市一代的社会紧迫感、其纪录片冲动以及对性别和性的表现上，突出了这个新城市电影中的人物——普通和边缘化的城市居民，包括漫无目的的波西米亚人、小偷、妓女、邮政工人、出租车司机、农民工——以及这些“流动的城市主体”往往由非专业演员扮演的事实。有些文章集中于特定的电影（如《淋浴》和《苏州河》）或电影制片人（包括贾樟柯和张远），而另一些文章则调查更广泛的关注点。该文集中的十三篇文章从多方面描述了一个重要的、持续存在的电影和文化现象。
贡献者。 Chris Berry、Yomi Braester、Shuqin Cui、Linda Chiu-han Lai、Charles Leary、Sheldon H. Lu、Jason McGrath、Augusta Palmer、Berenice Reynaud、石耀华、张英金、张震、钟学平
Since the early 1990s, while mainland China’s state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the “Urban Generation,” this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the “Urban Generation” rubric is their creative engagement with the wrenching economic and social transformations underway in China. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society.
The contributors analyze the historical and social conditions that gave rise to the Urban Generation, its aesthetic innovation, and its ambivalent relationship to China’s mainstream film industry and the international film market. Focusing attention on the Urban Generation’s sense of social urgency, its documentary impulses, and its representations of gender and sexuality, the contributors highlight the characters who populate this new urban cinema—ordinary and marginalized city dwellers including aimless bohemians, petty thieves, prostitutes, postal workers, taxi drivers, migrant workers—and the fact that these “floating urban subjects” are often portrayed by non-professional actors. Some essays concentrate on specific films (such as Shower and Suzhou River ) or filmmakers (including Jia Zhangke and Zhang Yuan), while others survey broader concerns. Together the thirteen essays in this collection give a multifaceted account of a significant, ongoing cinematic and cultural phenomenon.
Contributors . Chris Berry, Yomi Braester, Shuqin Cui, Linda Chiu-han Lai, Charles Leary, Sheldon H. Lu, Jason McGrath, Augusta Palmer, Berenice Reynaud, Yaohua Shi, Yingjin Zhang, Zhang Zhen, Xueping Zhong