略论"第六代"的"先锋"意义

“第六代”的作品主要有这样两大类：其一是,表现青年“自我”、张扬青年“个性”主题的一类。其二,是体现某种“先锋”精神的一类。同大众所熟悉的“第五代”相比较,“第六代”是完全不同性质的“先锋”：“第五代”的最鲜明艺术特征一是“空间对于时间的获胜”,二是宏大叙事的、关心并靠拢主流意识形态的创作态度;三是追求民族化的风格。而“第六代”他们并不讲究光与影、场景与造型的象征艺术,也没有“第五代”所钟情的对喜丧歌舞等大场面的渲染,而是特别注重讲一个完整的故事,而且讲述的方式通常是王朔式的,既漠视主流意识形态又极端“个人化”,因而可以说,“第六代”基本上是后现代主义和纪实主义的艺术。

A Talk on the "Vanguard" Significance in "Films of the Sixth-generation Directors"

The films of the sixth-generation directors fall into two major types: one is preoccupied with the motif of exhibiting the "self" of youths and publicizing their "individuality", the other is reflective of the "vanguard spirit of one sort or another. Compared with the familiar films of the fifth-generation directors, those of the sixthgeneration directors contain "vanguard" traits of a different nature. Distinct from the films of the fifth-generation directors focusing on such artistic features as "the triumph of space over time", the attitude to vast narration and concern for mainstay ideology and the style of pursuing nationalization, those of the sixth-generation directors emphasize the narration of an entire story in the Wang Suo style to the extent of both neglecting mainstay ideology and pursuing an extreme "individualization". Therefore, the films of the sixth-generation directors are of postmodernism and realism.