外文文献

Documenting Postsocialist Reality: The Films of Jia Zhangke

A thesis submitted to McGill University in partial fulfillment of the requirementsof the degree of Master of Arts

Abstract

In this paper, I will examine how the films of Jia Zhangke operate as social analyses of the contemporary condition in China through both subject matter and the documentation of a society in transition, as well as, through the creation of an innovative film language. Jia employs cinematic techniques that problematize the borders between fiction and documentary, subjectivity and objectivity, and realism and surrealism thus challenging the underlying assumptions that shape film as a medium itself. It is this essential filmic gesture which blurs the boundaries between traditional cinematic categories that makes Jia‟s films unique in their ability to reveal the inherent contradictions that structure the postsocialist condition in contemporary China.

Introduction

The past four decades have brought about monumental changes in the Chinese social and economic landscape. After Mao‟s death, China embarked on a massive economic campaign that moved away from a communist ideology based on collectivization and continual revolution and towards integration within the global capitalist economy. The mass public campaigns that defined the revolutionary period, such as the Great Leap Forward and the Cultural Revolution, were judged in the Deng Xiaoping years as deeply flawed. Deng enacted economic reforms that encouraged decollectivization of agriculture and the gradual decentralization of industry. Private entrepreneurship was no longer seen as an affront to the collective ideals of communism but was promoted as a means of stimulating China‟s lagging economy. Throughout the 1980s and 1990s, the ideological basis on which the Chinese economy was structured underwent a massive overhaul as Maoist isolation was replaced with global integration. Reform in China was not limited to the economy, however, but also brought about massive change within the social and cultural realm. As China became increasingly outward looking, the global had an increasingly large impact on the national. Upon opening its doors, China presented itself as an untapped market and was promptly exploited as such by the international capitalist system. The result has been a dramatic transformation of both the physical and cultural landscapes in China. By allowing for greater foreign investment, China saw a sharp influx of transnational corporations and with this a corresponding spread of global capitalist imagery. Internationally recognizable corporate logos pepper the landscapes of both major cities and more remote rural areas in China. Furthermore, capitalist consumer culture has had a profound impact on the nature of social relations in China. The experiences of the generation of youth coming of age in the 1980s and 1990s have been shaped more by a globalized popular culture than a nationalistic revolutionary culture. The forces of marketization arising from Deng‟s reform period have thus resulted in a new cultural logic in China. A greater individuality and autonomy has arisen through this shift from an ideologically unified culture under a planned economy to a pluralized culture under a market economy. The totalizing political ideology of the communist regime has been partially filled by a commodity culture which brings with it an individual desire that would have formerly been subsumed under that totalitarian ideology (McGrath 2008). Furthermore, this individual desire is mediated by a distinctly consumerist logic. As capitalist reforms become further entrenched in Chinese society, so does capitalist ideology come to shape the social psyche. Chinese citizens continue to flock to urban centers where the effects of globalization are most prevalent and social values shift as collectivization is replaced by commodification. These recent changes in China have been met with corresponding shifts within cultural production which reflect this new cultural logic. Filmmakers emerging after 1989, what have been termed the Sixth Generation, have developed a new cinematic form in order to represent the new social reality of contemporary China. They embrace a documentary-style realist aesthetic meant to capture the rawness and intensity of the urbanization process in postsocialist China. It is the debris of urban demolition and the machinery of construction that form the urban landscape and are the trademark of Sixth Generation cinema (Zhang 2007). The city is the site at which the contradictions of the grittiness of industrialism and slickness of computer-age commercialism intersect. Furthermore, the film industry itself has undergone dramatic change as a result of economic reforms. Unlike their Fifth Generation predecessors, Sixth Generation filmmakers often work outside the official studio system. Digital video technologies have opened up opportunities to a wide range of filmmakers who would otherwise be unable to produce films. The achievements of Chinese filmmakers at international film festivals have also provided a framework through which new filmmakers can strive for international and financial success. The entrepreneurship of these filmmakers and the transnationality of the production and distribution process is yet another indicator of the Sixth Generation‟s deep entanglement in global capitalism. “Situated in this brand-new political-economy regime, the Sixth Generation is itself a cultural phenomenon made possible by the postsocialist market economy, which developed rapidly in the 1990‟s in full complicity with transnational capitalism and which values the ideology of entrepreneurship” (Zhang 2006, 54). These filmmakers not only provide commentary and analysis of the shifting economic system in China but are also themselves deeply entangled in this system.

Jia Zhangke is one of the most pr

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外文翻译

记录后社会主义现实：贾樟柯的电影

为部分满足艺术硕士学位的要求而提交给麦吉尔大学的论文

摘要

在本文中，我将通过主题和转型社会的文献，以及通过创造一种创新的电影语言来研究贾樟柯的电影如何作为中国当代状况的社会分析。贾采用电影技术，将小说与纪录片，主观性与客观性，现实主义与超现实主义之间的边界问题化，从而挑战塑造电影本身的基本假设。正是这种必不可少的电影手势模糊了传统电影类别之间的界限，使贾的电影能够揭示构成当代中国后社会主义条件的内在矛盾。

介绍

过去四十年来，中国的社会和经济格局发生了巨大的变化。 毛泽东去世后，中国开展了一场大规模的经济运动，摆脱了以集体化和持续革命为基础的共产主义意识形态，转向全球资本主义经济中的一体化。定义革命时期的大规模公共运动，如大跃进和文化大革命，在邓小平时代被认为是严重缺陷。邓小平实施了鼓励农业非集体化和工业逐步分散的经济改革。私营企业家精神不再被视为对共产主义集体理想的侮辱，而是作为刺激中国经济滞后的手段而被提升的。在整个20世纪80年代和90年代，随着毛泽东主义的孤立被全球一体化所取代，中国经济结构的意识形态基础经历了大规模的改革。然而，中国的改革不仅限于经济，而且还在社会和文化领域带来了巨大的变化。随着中国越来越向外看，全球对国民的影响越来越大。在开放之后，中国将自己展现为一个尚未开发的市场，并被国际资本主义制度迅速剥削。结果是中国的物质和文化景观发生了戏剧性的转变。通过允许更多的外国投资，中国看到了跨国公司的大量涌入，并且相应的扩散全球资本主义意象。国际上可识别的企业标识使中国两个主要城市和偏远农村地区的景观变得更加清晰。此外，资本主义消费文化对中国社会关系的本质产生了深远的影响。 20世纪80年代和90年代成长的青年一代的经历更多地受到全球化的流行文化的影响，而不是民族主义的革命文化。邓小平改革时期产生的市场化力量，在中国形成了新的文化逻辑。通过从计划经济下的意识形态统一文化向市场经济下的多元化文化的转变，出现了更大的个性和自主性。共产主义政权的政治意识形态总体上被一种商品文化所填补，商品文化带来了一种个人欲望，这种欲望以前一直被归入极权主义意识形态之下（McGrath 2008）。此外，这种个人欲望是由明显的消费主义逻辑所调节的。随着资本主义改革在中国社会中的根深蒂固，资本主义意识形态也在塑造社会心理。中国公民继续涌向城市中心，全球化的影响最为普遍，社会价值观随着集体化被商品化取代而发生变化。中国最近的这些变化已经在文化生产中发生了相应的变化，反映了这种新的文化逻辑。电影制作人在1989年之后出现了什么被称为第六代，已经开发出一种新的电影形式，以代表当代中国的新社会现实。他们拥抱纪录片式的现实主义美学，旨在捕捉后社会主义中国城市化进程的原始性和强度。它是城市拆迁的碎片和构成城市景观的建筑机械，是第六代电影的商标（Zhang 2007）。城市是工业主义的粗犷与计算机时代商业主义的光滑相互矛盾的地方。此外，由于经济改革，电影业本身也发生了巨大的变化。与他们的第五代前辈不同，第六代电影制作人经常在官方工作室系统之外工作。数字视频技术为广泛的电影制作人提供了机会，否则他们将无法制作电影。中国电影制片人在国际电影节上取得的成就也为新电影制片人争取国际和金融成功提供了一个框架。这些电影制片人的创业精神以及制作和发行过程的跨国性是第六代在全球资本主义中深刻纠缠的另一个指标。 “在这个全新的政治经济体制中，第六代本身就是一种后社会主义市场经济所带来的文化现象，在1990年代与跨国资本主义完全共谋并且重视企业家精神的意识形态发展迅速“（Zhang 2006,54）。这些电影制片人不仅对中国不断变化的经济体系提供评论和分析，而且还深深卷入了这一体系。

贾樟柯是最着名和最受国际赞誉的人之一

这些新兴的电影制作人。他的电影呈现了当代中国的形象，替代了官方话语和国家赞助的文化生产中呈现的形象。从北京电影学院毕业并获得小山回家（1995年）成功的电影制片人后，贾回到了他的家乡汾阳，并对它所经历的巨大变化感到震惊。那里广泛的拆迁和建设使贾的家乡几乎无法辨认。贾发现自己需要记录这些深刻的变化（Berry 2009,23）。因此，汾阳为贾的下两部电影“小武”（1997）和“平台”（2000年）提供了背景。随后的电影进一步阐述了这种替代愿景和文献需求;来自世界

（世界，2004）将充满国际图像的主题公园的农民工的生活呈现给静物（三峡好人，2006）这表明由于三峡大坝的建设，长江周围景观逐渐消失。贾的影片集中在那些因过去的社会和经济安排背后的变革而流离失所或被边缘化的人。他的电影中的主角大多是失业的青年，他们试图在转型经济中为自己寻找一个空间。这些是在中国经济成就的官方代表中落后并在国际上占据突出地位的主题。通过向边缘人群发表意见，贾在他的电影中反对官方话语，并提供了对资本主义意识形态如何渗透当代中国主题日常生活的批判性见解。

从小吴开始，继续到贾的最近的工作，如静物，贾形成了一个越来越细致和复杂的电影语言，作为对中国当代社会景观的审讯。贾将巴兹尼亚摄影现实主义与后现代超现实主义相结合，探索了快速转型时代多元社会经验的意义（张2007）。在贾的电影世界里，

真实的和超现实的并置以他的代表形式创造破裂。而且，贾模糊了它们之间的界限纪录片和小说从而挑战观众对每个人与现实的关系的看法。通过强调这些传统电影类别之间边界的渗透性，贾的电影质疑了电影的代表性主张以及内容和形式可用于提供社会批判的方式。在本文中，我将探讨贾的电影在社会话语中的表现方式，并对中国后社会主义状况进行特别复杂的描述。在第一章中，我将探讨后毛泽东时代中国发生的经济和文化变革。我将简要讨论一些主要的知识分子辩论，这些辩论试图分析这些变化并将这些变化置于语境中，以及它们是如何从20世纪80年代初发展到世纪之交的。最后，我将研究文化生产如何作为一种社会分析工具运作，特别关注贾樟柯的电影如何塑造和塑造这些更大的社会话语。在第二章中，我将看看中国的社会变革是如何通过基于对现实的不同主张的不同的电影现实来传达的。从社会主义现实主义电影，声称揭示现实的意识形态真相，到第五代电影，试图通过历史重新评价建构一个新的现代主题，最后，到1989年后的电影，通过个人创造一个现实的愿景主观性和纪录片式美学。 我将演示这些电影运动中的每一个是如何由不同的电影代码或现实主义制度构成的，这些电影代码基于不同的意识形态主张来谈判代表与现实之间的关系。 最后，在第三章中，我将探讨贾如何创造自己的创新电影语言，模糊传统电影类别之间的界限，从而更加敏锐地揭示构成当代中国后社会主义状况的内在矛盾。 贾使用了某些电影技术，这些技术使小说和纪录片，主观性和历史性，现实主义和超现实主义之间的界限成为问题。 正是这种必不可少的电影姿态使贾的电影能够传达当代中国的矛盾本质。

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