【作者】 司若；

【导师】 徐葆耕；

【作者基本信息】 清华大学 ， 中国现当代文学， 2004， 硕士

【摘要】 本文所研究的华语游民电影主要是指20世纪90年代以来,中国出现的以城镇游民阶层为题材的电影。所谓城镇游民即是指在城镇居民中游离于基本社会结构之外的各个边缘群体。中国在20世纪80年代以来,转型社会的特定历史条件创造了促使游民阶层大量产生的土壤。由于游民阶层具有极大的不稳定性,他们常常被排斥在主流劳动力市场之外,从而对整个社会的安定构成了潜在的威胁。一群对于社会危机深感忧虑的中国年轻导演将关注的眼光投向了游民阶层。这类电影作为一个时代的记忆方法,记录了游民阶层的生活现实和精神状态。更为可贵的是,它们用独特的叙事方式构建了对宏观叙事形成补充的现代城市的第二历史,从而展示出中国转型期社会的复杂性和偶然性。这些年轻导演在电影理念和叙事手法上的创新,是中国电影继陈凯歌、张艺谋后出现“第六代”的重要征兆。显然,对这一类电影的研究是关乎当代中国电影发展的重要方面。但是由于这类电影大多不符合国家电影局的电影制作规定,也未获得公映权,所以它们一般以盗版DVD和网络资源的方式传播,同时对这类电影的研究也非常稀缺,在国内的主流书刊中几乎是空白。文学叙事是电影叙事的基础,本文以贾樟柯的“故乡三部曲”为例,对华语游民电影独特的文学叙事特征进行了较为详尽的分析和批评,总结出贾樟柯的游民电影之文学叙事的六个特点,分别是:貌合神离的三幕剧结构;无悬念的叙事设计;开放式的结局;无明确的第三者指向;隐喻的应用;无隐性英雄因素。论文还对贾樟柯叙事理念的内部矛盾进行了辨析,并对华语游民电影的未来发展进行了前瞻。由于游民电影的叙事方式不符合普通观众的传统欣赏习惯,所以即使获得了公映权,市场前景也不容乐观。根据张元的先例,“浮出地面”后的华语游民导演,他们必然在个人理念和市场需求之间,在电影的文学叙事上作出调整和转变,一定程度上也是克服原有的叙事缺陷,而同时国家有关部门也应予以积极的关心和指导。更多还原

【Abstract】 What this paper researched are the Chinese films on social floaters since 1990’s. Social floaters are some kinds of marginal colonies out of the basic social structure. Since 1980’s, the changing historical conditions make the soil for social floaters to come out and expand. The lives of social floaters are unsteady badly, and they are always excluded out of the central labour market, so they have become a kind of latent menace to the society. A school of Chinese young directors who greatly concerned with the social crisis have begun to pay their attention to the social floaters. As the memorial method of a special era, the films on social floaters are one of the important parts of the Chinese films since 1990’s, and worth while to research very well. What is more significant is that they have constructed the history 2 of the modern cities which is the complementarity of the mainstream culture, so they bring forth the complexity and chanciness of the current Chinese changing society, and open out a more actual and all-around society. These young directors’ innovation on film conception and narration is the concernful symptom of “the sixth Chinese film era” after Chen Kaige and Zhang Yimou, and they have aroused the broad attention and concern in the world. But this species of films mostly do not accord with the regulations for shooting films, and have not the right to be screened in public. So they currently spread abroad by piratical DVD or internet, and at the same time, the research of this kind of films is very absent, especially in the domestic central books and periodicals.Literary narration is the foundation of filmic narration. This paper has chosen the films “Hometown Trilogy” directed by Jia Zhangke as the examples, and has detailedly analyzed and criticised the narrative characteristic of Chinese films on social floaters. I have summarized six points about the narration of Jia Zhangke’s <WP=4>films. They are three-act structure seemingly in harmony but actually at variance; no suspenses; exoteric final; undefined third party; metaphor; no potentially heroical character. Besides, this paper has analyzed the inner contradiction of the Jia Zhangke’s narrative consciousness, and has looked forward the future development of the Chinese films on social floaters. Jia Zhangke is against the histrionic elements, and he work hard to achieve the attendant effect. But in fact, camera has been never absolute impersonal, so it is determinate that his films on social floaters have been some fabled and subjective. Even if these films were admitted to be on show in public, the box office certainly would not be admirable, because their narration do not accord with the popularly enjoying custom. According to Zhang Yuan’s precedent, after being admitted to screen films by government, these directors must chang their narrative concept based on the marketable requirement and audiences’ custom in order to overcome some limitation of their narration. On the other hand, the correlative departments of the government should pay more attention and direction to them energetically.更多还原