东方论坛—青岛大学学报（社会科学版）

"第六代"导演热衷于青春叙事,致力于营造一个青年亚文化的电影语境,以后革命时代的青春小叙事取代了革命时代的青春大叙事。青春在"第六代"电影中呈现为一种静穆的狂欢状态,一方面是去革命中心后的个体不无虚无感的自我放纵,以及陷身于物恋迷狂所形成的超现实主义幻觉;另一方面却又带有社会主义时代遗留下来乌托邦梦想,并将这种神圣的情感投注于一个可供参照并追随的象征符号——"精神之父"的存在。

The sixth-generation directors are fond of adolescent narrative and try to create an adolescent subculture film context.So,adolescent small narrative of the post-revolution age has replaced adolescent grand narrative of the revolution era.In those directors’ films,adolescence is embodied by a kind of solemn and quiet carnival: the self-indulgence of the individual suffering from a sense of emptiness after going to the revolutionary center,and the surrealist illusion out of fetishism;the Utopian dreams inherited from the socialist age,and the existence of a "father of spirit",a symbol entrusted with those sacred dreams and longed for.