世纪末中国电影的某种症结也许可从如下的实例之中得到指认:最近,四部国产影片——《离开雷锋的日子》、《大转折》、《红河谷》、《夫唱妻和》被荣幸地冠以“主旋律影片”的头衔。于是它们成了新闻界重点宣传、电影院重点放映、观众重点观赏的宠儿。不可否认,这四部影片确实是国产影片中的上乘之作,但是必须强调不应由此误解的是,四部影片并不足以包容国产影片的特色与风格,涵盖和代表着中国电影发展的全部的向度。“主旋律”不等于“唯一律”。多元化是当今社会的一大特点。人们的价值观、思维方式及审美取向五光十色,异彩纷呈。各种定规模式普遍受到冲击,人们呼唤以多视角,从多方位审视世界,体味人生。尤其是文化领域,在世纪末的离散与重组中,几乎无法划定一个可以拢住所有时代精神的共同命名。这使当代文化进入某种“无 Some of the crux of Chinese cinema at the end of the century may be identified from the following examples: Recently, four domestic films, “Leaving the Days of Lei Feng,” “Turning Point,” “Red River Valley,” “Wife and Wife” were honored To crown “theme film” title. So they became the focus of the press publicity, cinema focus show, the audience darling favorite viewing. It is undeniable that these four films are indeed excellent works in domestic films. However, it should be emphasized that it should not be misunderstood that the four films are not enough to contain the features and styles of domestic films and cover and represent the full Degree. “The main theme” is not equal to “the only law.” Diversification is a major feature of today’s society. People’s values, ways of thinking and aesthetic orientation colorful, colorful. All kinds of rules and regulations are generally under attack. People call for a multi-perspective and multi-pronged approach to the world and life appreciation. In the field of culture in particular, in the end of the century, it is almost impossible to delineate a common name that can hold the spirit of all times in the process of separation and reorganization at the turn of the century. This makes contemporary culture into a "no