【作者】 李鹏飞；

【导师】 张明芳；

【作者基本信息】 山西大学 ， 艺术学理论， 2023， 硕士

【副题名】图绘中国青年导演及其可能

【摘要】 本文以松太加、张大磊、毕赣和鹏飞这四位青年导演为主要研究对象,通过他们在拍摄处女作时回到自己的故乡,即藏地、内蒙、贵州和北京这四个分别指向中国地理空间意义上的西部、北方、南方和东部面向,使得当下青年导演将处女作放置在故乡的现象显影。同时,通过他们在作品中连续地表达“故乡”并生成四种个人化的“故乡”表达形式或者说“故乡”死亡的四种形式来差异性地图绘青年导演“集体返乡”的症候。本文之所以在“故乡”症候的框架内并选择四位兼具相似性与差异性的青年导演来图绘中国青年导演群,是因为无论是“代际发明”还是“区域命名”等宏大理论均无法处理当下充满差异性的青年导演,而他们之间却呈现出结构性相似的内在特征,即青年导演“集体返乡”的背后,实际上是在封闭的现代化进程中对“故乡”或个人生命经验的回望和内视。然而,本文也并不是要整体性/简单化地概括青年导演,而是以“万玛才旦”之后为时间节点并通过对四位典型的青年导演展开结构式分析来描述“故乡”作为症候的青年导演群。第一章主要讨论的是松太加导演,他回到了藏地/西部并不断地书写藏地“家庭”中个体的创伤,而这种创伤性表达直接联系着松太加个人的创伤经验,即父亲的死亡。换言之,松太加的故乡是创伤性的和潜意识中的。第二章主要处理的是张大磊导演,他回到了内蒙/北方并连续地表达自我童年或成长记忆中90年代的故乡。第三章主要探讨的是毕赣导演,他回到了贵州/南方并不断地通过长镜头来构建破碎的乡土记忆/“熟人社会”。第四章主要讨论的是鹏飞导演,尽管他在处女作中回到北京,但是北京对于他来说从来都不是故乡之地。他通过真实体验的方式进入异乡并持续关注边缘人而使得作品呈现出一种家庭崩塌后的漂泊意味。因此,鹏飞的作品一方面呈现出外在书写的特征,另一方面也表明故乡已死。综上所述,这四位青年导演在书写“故乡”的时候既带有明显的个人化特征,同时又相似性地表达出“故乡之死”的意味。基于此,本文经由个案研究主要考察两个方面的内容,一方面选择个案研究的背后,实际上是在“代际”命名失效后的语境中去寻找描述当下差异性青年导演的可能,即图绘的可能。另一方面是通过个案之间结构性的内在和外在特征来描述“故乡”作为当下中国青年导演群体的症候或原型。更多还原

【Abstract】 This paper takes four young directors,Song Taijia,Zhang Dali,Bi Gan and Peng Fei,as the main objects of study.Through their return to their hometown when shooting their first work,namely,Tibet,Inner Mongolia,Guizhou and Beijing,which point to the west,north,south and east of China in the sense of geographical space,the phenomenon that the current young directors place their first work in their hometown is revealed.At the same time,through their continuous expression of "hometown" in their works and the generation of four personalized forms of "hometown" expression or four forms of "hometown" death,the symptoms of "collective return" of young directors are differentiated.The reason why this article chooses four young directors with both similarities and differences to draw the group of Chinese young directors within the framework of "hometown" syndrome is that neither "intergenerational invention" nor "regional naming" and other grand theories can deal with the current young directors full of differences,but they present a structurally similar internal feature,that is,behind the "collective return" of young directors,In fact,it is looking back and looking inward at "hometown" or personal life experience in the process of closed modernization.However,this article is not intended to generalize the young directors in a holistic/simple way,but to describe the group of young directors with "hometown" as a symptom through the structural analysis of four typical young directors at the time node after "Wanma Caidan".The first chapter mainly discusses the director of Songtaijia,who returned to the Tibetan/Western region and constantly wrote about the individual trauma in the Tibetan "family",and this traumatic expression is directly related to Songtaijia’s personal trauma experience,that is,the death of his father.In other words,Songtaijia’s hometown is traumatic and subconscious.The second chapter mainly deals with director Zhang Dalei,who returned to Inner Mongolia/North China and continuously expressed his hometown in the 1990 s in his childhood or growth memory.The third chapter mainly discusses director Bi Gan,who returned to Guizhou/South China and constantly constructed broken local memories/ "acquaintance society" through long shots.The fourth chapter mainly discusses director Pengfei.Although he returned to Beijing in his debut,Beijing has never been his hometown for him.He entered a foreign land through real experience and continued to pay attention to the marginal people,presenting a sense of drifter after the collapse of the family.Therefore,Pengfei’s works,on the one hand,show the characteristics of external writing,on the other hand,also show that his hometown is dead.To sum up,the four young directors wrote "hometown" with both personalized characteristics and similarities,which implied "death of hometown".Based on this,this paper mainly examines two aspects through case studies.On the one hand,it selects the background of the case study,and actually seeks the possibility of describing the current differentiated young directors in the context of the "intergenerational" naming failure,that is,the possibility of drawing.On the other hand,it describes the "hometown" as the symptom or prototype of the current Chinese youth director group through the structural internal and external characteristics between the cases.更多还原