| 后现代主义与新时期电影 |
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| 引用本文： | 曾耀农.后现代主义与新时期电影[J].唐都学刊,2005,21(4):100-103. |
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| 作者姓名： | 曾耀农 |
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| 作者单位： | 武汉理工大学,艺术与设计学院,湖北,武汉,430070 |
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| 摘 要： | 后现代主义影视的主体与文本中,表现出边缘化倾向,主体被消解分割呈“物化”、平面感与零散化状态,具有话语膨胀和语言游戏的特征。就中国新时期电影而言,第六代电影导演的逐渐崛起和发展,也就是传统叙事手法的消解,追求作品的哲理性却在一定程度上丧失了可视性。
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| 关 键 词： | 后现代主义 电影 哲理性 可视性 |
| 文章编号： | 1001-0300(2005)04-0100-04 |
| 修稿时间： | 2005年2月10日 |
Postmodernism and Contemporary Films |
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| ZENG Yao-nong.Postmodernism and Contemporary Films[J].Tangdu Journal,2005,21(4):100-103. |
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| Authors: | ZENG Yao-nong |
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| Abstract: | Films and Television works of postmodernism are characterized by the separated, scattered, unsystematic, plane state of the subjects as well as expanded, thoughtless and pleasure-seeking language. As far as Chinese contemporary films are concerned, film directors of the 6th generation break free from traditional narrative style and pursue philosophy of film and television works which, to some extent, affects audience's desire to watch. |
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| Keywords: | postmodernism film philosophy audience's desire to watch |
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