常想故鄉(xiāng)：中國(guó)80后導(dǎo)演的地域電影創(chuàng)作探析

中圖分類號(hào)：J905 文獻(xiàn)標(biāo)志碼：A 文章編號(hào)：1673-3851（2025）06-0299-07

Always thinking of hometown： An analysis of regional film creation of Chinese post-8Os directors

XU Youya ， JIANG Ke （School of Law and Humanities， Zhejiang Sci-Tech University，Hangzhou 3loo18，China）

Abstract： In recent years，a wave of geographically rooted filmmaking centered on \"hometown\" as the core narrative space has emerged among China's younger generation of directors. This study， with \"hometown\" as both an analytical framework and an affective anchor， systematically examines the generational characteristics of post-8Os directors‘ works through close readings of their cinematic texts from three dimensions： thematic construction， stylistic innovation，and emotional architecture. Findings reveal that these directors strategically deploy representative figures， spatially charged settings，and linguistically coded dialogues to interogate contemporary sociopolitical realities.Their works coalesce into a distinctive aesthetic paradigm marked by surrealist stylization and poetic atmospherics，embodying an ambivalent stance toward the hometown motif—intertwining nostalgic yearning with a modernist critical perspective that scrutinizes globalization's erosion of rural kinship networks and productive structures. Such cinematic practices not only manifest surface-level creative trends but also excavate deeper culturalpsychological formations， thereby offering an interpretive lens through which to comprehend the sociocultural transformations of China's rural-urban landscapes amid accelerated urbanization.

Key words： post-8Os directors; regional film; sense of hometown; generational signatures; Li Ruijur

80后導(dǎo)演是指出生在20世紀(jì)80年代初至90年代中后期，成長(zhǎng)于全球化、數(shù)字科技快速發(fā)展時(shí)代的一批電影創(chuàng)作者。在代際更迭的電影創(chuàng)作版圖中，我國(guó)80后導(dǎo)演群體呈現(xiàn)出類型探索與作者表達(dá)的雙重面向：既涵蓋科幻片、實(shí)驗(yàn)動(dòng)畫等多元類型，又持續(xù)深化新寫實(shí)主義脈絡(luò)下的作者電影創(chuàng)作。其中，以故鄉(xiāng)為主體的創(chuàng)作范式，建構(gòu)了透視當(dāng)代中國(guó)的文化棱鏡一—這種創(chuàng)作取向既源于青年導(dǎo)演在產(chǎn)業(yè)格局中的結(jié)構(gòu)性困境，如制片資金短缺和資源配置邊緣化，又是對(duì)中國(guó)電影史中以故土空間為美學(xué)根基的創(chuàng)作譜系的承襲。

電影作為一種源于現(xiàn)實(shí)、反映現(xiàn)實(shí)的影像藝術(shù)形式，它的生產(chǎn)發(fā)展與地域風(fēng)貌、地緣文化呈現(xiàn)一種“共生\"狀態(tài)[1]。呂成鳳[2在分析拉華加創(chuàng)作譜系時(shí)，指出電影建構(gòu)了游戲、勞作和禪意等多重景觀，映射出對(duì)人類文明與自然文明、故鄉(xiāng)文明與現(xiàn)代文明間多元交融的思考。趙柔柔[3基于《第一次離別》展開分析，揭示了青年導(dǎo)演的創(chuàng)作特征：以地域性置換民族性話語；弱化戲劇沖突消解價(jià)值判斷；通過影像時(shí)空建構(gòu)，展現(xiàn)故鄉(xiāng)與時(shí)代的不可逆消逝。唐瑞蔓4以2010—2019 年青年導(dǎo)演們創(chuàng)作的鄉(xiāng)村題材電影為例，指出這些作品以內(nèi)生性視角講述鄉(xiāng)村故事，關(guān)注鄉(xiāng)村社會(huì)中的民生疾苦與事理人情，直面鄉(xiāng)村發(fā)展中的問題，彰顯了鄉(xiāng)村文化的自主性與生命力。沈菊[5認(rèn)為，青年導(dǎo)演更趨于在形式上實(shí)現(xiàn)精神還鄉(xiāng)，而拒絕身體上的還鄉(xiāng)，靈與肉的分離是近年來我國(guó)青年導(dǎo)演對(duì)“故鄉(xiāng)”或“鄉(xiāng)土”意象的想象性建構(gòu)。……