《中国电影研究》第二期｜康浩：生成發展史：重新思索中國電影的代際

Red Sorghum (Hong gaoliang, 1987）

Journal of Chinese Film Studies立足於中國，面向國際，旨在搭建世界級國際學術科學研究網絡平臺，刊登海內外高水平的中國影片科研成果，強化相同文化背景的科學研究者之間的對話和溝通交流，促進海內外影片科學研究界積極開展交流與戰略合作，推動中國影片科學研究的全球經濟發展。想與海內外著名歷史學者一同深入探討中國影片嗎？趕緊行動投稿吧！

https://www.degruyter.com/document/doi/10.1515/jcfs-2021-0002/html

《中国电影研究》第二卷第二期

Journal of Chinese Film Studies Volume 1, Issue 1

來源：中國電影科學研究

從1985澳門國際影展開始，中國大陸的影片開始引發國際影展觀眾們的興趣。憑藉著想像與內斂的表達，《黄土地》在一眾國產故事片中脫穎而出。中國影片屢創佳績，在維也納國際影展上，張藝謀的成名作——故事片《红高粱》贏得了金熊獎，成為了當時中國影片贏得的最低大獎。

3. About the Author

Clark, Paul. "Generating History: Rethinking Generations in Chinese Filmmaking" Journal of Chinese Film Studies, vol. 1, no. 1, 2021, pp. 5-18.

2. A Glimpse of the Article

Keywords: Chinese film history; fifth generation filmmakers; Chinese new wave

《中国电影研究》

康浩：生成發展史：重新思索中國電影的代際

想要了解更多關於“中國第四代編劇”和“中國電影史”

回顧中國第四代編劇這一族群，我們必須認識到這是一種短暫的現像。在國際上，第四代編劇被指出是中國影片的一股新浪潮，而在國內卻受到了一定程度的批評。這批影人承繼了父輩的看法，指出影片、表演藝術和現代文學的力量能更廣泛地刻畫國家話語。

The Fifth Generation label given the 1982 BFA graduates and some of their contemporaries is said to have been coined by one of their teachers, Ni Zhen (1938–).Ni Zhen’s Fifth Generation label captured the distinctiveness of this group of students. Younger members had come straight from high school to the academy, particularly students in the acting department, which was based in the city. A substantial proportion of the class assigned to the other departments were former sent-down youth (known in Chinese as educated youth, zhiqing for short). This background gave the whole group a special quality. The new cohort of filmmakers, as the range of their early films suggested, were also characterised by considerable diversity of background and tastes.

Journal of Chinese Film Studies

Paul Clark

Looking back at the group labelled the Fifth Generation of Chinese filmmakers we should recognise it for the short-lived, temporary phenomenon that it was. The Fifth Generation were recognised internationally, and with a degree of reluctance domestically, as a kind of New Wave in Chinese cinema. But in a sense their brief flourishing can also be viewed, not as a new beginning, but as a kind of ending. This group of filmmakers were inheritors, in a few cases directly from their parents, of a view of the power of film and arts and literature more broadly to shape discourse about the nation.

中國影片評論者和影片專家對於此種具備新藝術風格的影片反應不一。極少數影片評論者熱誠地接受了此種新影片，並且給與了積極主動的評價。而絕大多數評論者反應較為慎重，很多人甚至持有敵對態度。

1. Abstract and Keywords

The response of China’s film critics and other film professionals to the new-style films was also decidedly mixed. A few critics, teachers and others enthusiastically embraced the new films and spoke and wrote positively about them. Most members of film circles were more cautious; some were even hostile.

請點擊上方鏈接通往 Generating History: Rethinking Generations in Chinese Filmmaking

To Cite This Article

本文為"開放以獲取"，讓科學知識傳播得更遠。

https://www.degruyter.com/journal/key/JCFS/htm

康浩，悉尼大學人文、詞彙和詞彙學學院亞語族副教授，國際中國電影學術科學研究應用領域先驅者人物，科學研究應用領域牽涉：文學中國盛行人文、1949年來中國青年人文與上海社會史等。出版發行論著《中国的青年文化》、《重塑中国：一代电影人和他们的电影》等。

Abstract: This paper argues that the idea of a Fifth Generation of Chinese filmmakers was created almost as much by critics and others outside of China as by China-based writers on film. I will suggest that this cohort of filmmakers, which emerged in the mid-1980s, was more distinctive and shared more in common than generations of filmmakers before or since that decade. But using the Fifth Generation label can sometimes obscure real differences among the artists to whom the term is applied. Moreover, this cohort, within a matter of a few years, lost its relative coherence as its members went their separate ways. The paper will end by suggesting that in some senses the Fifth Generation, usually hailed as a “New Wave” in Chinese filmmaking, marked an end of certain attitudes to film in China rather than a new beginning.

關鍵詞: 中國電影史；第四代編劇；中國新浪潮

https://mc.manuscriptcentral.com/jcfs

jcfs@degruyter.com

Paul Clark: Generating History: Rethinking Generations in Chinese Filmmaking

The Yellow Earth (Huang tudi, 1984)

Paul Clark is a pioneer in the academic study of Chinese films. He is the Professor in Asian Studies of the School of Cultures, Languages and Linguistics of University of Auckland. His research interest includes Contemporary Chinese popular culture, including films; the Cultural Revolution; Chinese youth culture since 1949; Beijing social history since 1949. He published books including Youth Culture in China: From Red Guards to Netizens, Reinventing China: A Generation and Its Films.

“第四代編劇”

《红高粱》

Starting in the spring of 1985 at the Hong Kong International Film Festival, a new mainland Chinese film began to capture the interest of global film festival viewers. The Yellow Earth (Huang tudi, 1984) distinguished itself from previous Chinese feature films through its reliance on imagery and indirection. China films’ run of successes in Berlin culminated in the top prize, the Golden Bear, going to Zhang Yimou’s debut feature Red Sorghum (Hong gaoliang, 1987). This was the highest prize a Chinese film had ever won.

編輯：薛淑偉

提要:本文提出“中國第四代編劇”是由海外影片評論者和中國影片製作者共同刻畫的概念。作者指出，20世紀末80二十世紀後期發生的一大批影人與其它世代的編劇較之，更為具備民族特色，並且擁有更多相似之處，但是第四代的標籤有時候會模糊不清這一代音樂家之間真正的差別。而且，隨著第四代編劇各奔東西，自己之間的相對一致性在一兩年之內便消亡了。

“第四代編劇”由中央戲劇學院的倪震同學提出，指的是中央戲劇學院1982屆大小學生以及同時代的部份影人。這一標籤抓住了這群小學生的獨有之處。自己中較年長的一部份通過升學直接步入了影片學院編劇系，而另一批小學生曾是下鄉的知青。這一大背景賦予了第四代編劇獨有的個性。正如在自己晚期影片中所展現的那般，第四代編劇具備十分多元的大背景和品位。

《黄土地》