後革命到「後不革命」：以傳播政治經濟學視角重探黃建新的創作變遷

Abstract

在中國第五代電影「民俗式博物館」的浪潮之中，黃建新或許是在同代聲音中最異樣的創作者。1985年，他的首部劇情長片《黑炮事件》一鳴驚人地開展出不同的風景，以一針見血的諷刺力道成為文化大革命後稀有的光影。九零年代鄧小平南巡後，中國經濟快速地向前衝刺，黃建新的創作亦首次遇到海外投資，美學手法與創作主題大幅改變。新世紀初，黃暫緩創作轉向監製，雖仍有小品產出，但卻不復八、九零年代的生猛有力。尤其主旋律大片《建國大業》、《建黨偉業》的官方陰影更是重新定位了黃建新在新一代觀眾的印象。本文從傳播政治經濟學角度，從生產過程、經濟結構、組織變遷等方面重新探究黃建新的創作軌跡與美學思想，一則對於中國電影產業自文革、改革開放至新世紀的發展有所掌握；二則重新透過黃建新的作者研究檢視中國導演可能的共同命運與個別殊異。

Among China`s fifth-generation film directors, Huang Jianxin probably stands out as the most distinctive one due to his avant-garde cinematic style and extremely critical content. After Deng Xiaoping`s Southern Tour in 1992, China`s economy embarked on a fundamental transformation, while Huang encountered foreign investment for the very first time and altered his production style in accordance. Since the new century, Huang has focused on producing films rather than directing, and his little directed works are no longer considered as avant-garde and critical as they were in the 1980s and 1990s. Furthermore, the main melody films, e.g., ＂The Founding of a Republic＂ and ＂Beginning of The Great Revival,＂ have seemed to cast a shadow over his cinema career. Given that complicated structure in China we briefed, this article seeks to revisit Huang`s creative trajectories and aesthetic thoughts from the political economy of communication, including the aspects of the production process, economic structure, and organizational change. The goals are two-fold: firstly, to remap the history of the Chinese film industry to explain why Huang was incorporated; secondly, to simultaneously comprehend similar tracks of other filmmakers in China, and the individual significance through this case/auteur study.