自 8 0年代中期 ,王朔以他“自虐式的嘲弄”将都市平民形象推向银幕并大获成功以来 ,无论是精英、商业 ,还是所谓“地下”电影的制片人和导演们 ,都不约而同地将他们的目光投向这个曾被中国电影遗忘了的角落 ,制作了一部部或是辉煌、或是惨淡、或是饱受非议的影片。然而 ,在众? Since the mid-1980s, when Wang Shuo brought the image of urban civilians to the screen with his “self-abuse mockery” and achieved great success, neither the elite, the commercial nor the producers and directors of the so-called “underground” films were invariably They set their sights on a corner that was once forgotten by Chinese films and produced a department that is brilliant or bleak or a source of criticism. However, in public?