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“第五代”之后的中国新生代电影似乎面临着一个怪圈:一些作品在国际电影节上颇受好评却无缘与国内的观众见面,如《小武》(贾樟柯)、《站台》(贾樟柯)和《十七岁的单车》(王小帅);另一些进入到商业电影发行渠道的影片,如《绿茶》(张元)和《紫蝴蝶》(娄烨),却受到诸多批评,令满怀希望的观众大失所望。这种“尴尬”的状况不仅暴露了中国电影体制的诸多问题,而且成为了当代文化的一种“征候”。《看不见的中国电影》一文试图对那些参加国际电影节并获奖但不能在国内电影市场上公开放映的中国电影即“地下电影”进行文化分析。国内关于“地下电影”的论述主要集中于“独立电影”和“第六代”电影两套话语修辞中,前者指认着非体制的制作方式以及聚集了对自由/独立/民间的文化想象,后者则在第五代/第六代的代际叙述中被批评家和青年导演共同建构而出。这样一种文化现象不单与九十年代中国允许除国家以外的资金介入电影生产有关,而且还与在后冷战结构中,中国作为第三世界/社会主义国家在世界文化地形图中的境遇密切相关。《“失语者”与“倾诉者”》则从一个更为具体的层面来论述新生代电影的变迁,通过对王小帅的《十七岁的单车》的结构和形式分析,结合他以前的电影创作,指出他们这一代人从一个处于文化边缘的“失语者”如何演变成一个经典好莱坞故事的“倾诉者”。由抗争到妥协,成为了一代人的“宿命”。
Chinese Cenozoic films after the “Fifth Generation” seem to face a vicious circle: some of the works are highly acclaimed at international film festivals and missed the domestic audience, such as “Xiao Wu” (Jia Zhangke), “Platform” (Jia Zhangke) And “Seventeen-year-old Cyclist” (Wang Xiaoshuai); other films such as “Green Tea” (Zhang Yuan) and “Purple Butterfly” (Lou Ye) that have entered the distribution channels of commercial films have received criticisms so hopefully Audience disappointed. This “embarrassing” situation not only exposed many problems of the Chinese film system, but also became a “sign” of contemporary culture. The article, “Invisible Chinese Movies,” attempts to conduct a cultural analysis of Chinese films called “underground films” which have won international film festivals but are not publicly screened in the domestic movie market. Domestic discourse on “underground movies” mainly focuses on two rhetorical forms of “independent film” and “sixth generation” films. The former refers to non-institutional production methods and brings together the cultural imagination of freedom / independence / non-government. In the fifth generation / sixth generation intergenerational narrative by critics and young directors together to build out. Such a cultural phenomenon is not only linked to China's permission to intervene in film production in addition to state funding in the 1990s, but also to China's status as a third / socialist country in the world cultural topographic map in the post-Cold War structure . “Aphasia” and “Departement” “discuss the vicissitudes of new generation movies from a more specific perspective. By analyzing the structure and form of Wang Xiaoshuai's” Seventeen-year-old bicycle “and combining with his previous movie creation , Pointing out how their generation has evolved from being a ”speechless“ at the brink of culture into a ”talkative“ of a classic Hollywood story. By struggling to compromise, has become a generation of ”destiny."