电影的知识分子化“文革”后,中国电影制作在文化构成上有—个重大的转型,即一种知识分子的文化意识开始进入电影制作的主题,并且有效地形成富有时代感的势头,与小说界的同步现象遥相呼应,从而结束了一个知识分子意识被压抑、扭曲甚至消失的电影时代。这样说,绝不意味着我们无视或轻视“文革”前中国电影的存在。尽管这个时期的创作无疑是非知识分子化的,但仍然表现出具有时代精神特性的文化意识的活力以及理想。实际上,这种由知识分子们来完成的非知识分子制作仍然能够产生无愧于时代的优秀影片。例如《董存瑞》、《五朵金花》、《我们村里的年轻人》、《祝福》、《柳堡的故事》,以及《红日》、《南征北战》均堪称这个时代的代表性作品,并且在今天,仍然为广大观众乐于接受。而象当时偶尔出现的《早 After the “cultural revolution” of the movie, the filmmaking in China has a major transformation in its cultural composition. That is, a cultural awareness of intellectuals begins to enter the main theme of filmmaking and effectively forms a trend full of the times. The synchronicity of novels echoes, ending an era in which the consciousness of intellectuals is repressed, distorted or even disappeared. Saying this in no way means that we ignore or underestimate the existence of Chinese films before the “Cultural Revolution.” Although the creation of this period is undoubtedly non-intellectual, it still shows the vitality and ideals of the cultural consciousness with the characteristics of the times. In fact, this non-intellectual production by intellectuals can still produce outstanding films worthy of the age. For example, “Dong Cunrui,” “Five Golden Flowers,” “Young Men in Our Village,” “Blessings,” “The Story of Liubao,” and “Red Sun,” “Southern Campaign” were all representatives of this era Sex work, and today, is still open to the majority of audiences. And as occasionally appeared "early