随着中国政治、经济的巨大变革,给文化艺术带 来了生机。这种生机给中国影坛以巨大的冲击波,历 史地、必然地产生了中国的第五代导演。从总体上看, 第五代导演几乎是以共同而崭新的电影美学观达到殊 途同归。这种新的美学观使他们自然凝聚成一个整块, 令人刮目相看。 A 还人的本质于电影艺术 纵观过去的中国银 幕,把人作为电影艺术的主体来表现的比比皆是,这 是无可否认的。无论是严肃片、娱乐片都曾给人的主 体以显赫位置。但就以当时代表我国最高水准的《红 With the great political and economic changes in China, this has brought vitality to culture and the arts. This vitality to the Chinese film a huge shock wave, historically, inevitably produced the fifth generation of China’s director. On the whole, the fifth generation directors almost reached the same goal of achieving the same goal with almost new and common movie aesthetics. This new concept of aesthetics so that they naturally condensed into a whole, impressive. It is undeniable that the nature of the human being in the film art looks at the past Chinese screen and shows people as the main body of the film art. Whether serious films, entertainment films have given the main body of a prominent position. However, on the basis of “red,” which represented the highest standard in our country at the time