王一川：Modernization of Chinese Film

中国电影固然有自己的作为独立艺术门类的艺术史，但也同时与整个中国式现代化历史进程相伴随，因而也是中国式现代化历史的一部分。从中国式现代化回看中国电影现代性进程，可以更清晰地认识和把握中国电影现代性的特质和发展规律。中国式现代化，可以视为中国社会实施现代化变革的一种总体进程，而中国电影现代性既是这种社会现代化变革总体进程的一部分，同时又是对于它的一种影像表达方式。以运动影像系统形式去再现中国式现代化进程，构成中国电影现代性的基本品质，由此，中国电影现代性的民族性、时段性等特质及其当前课题，也都可以得到阐明。

(2) The Modernization of Chinese Film Phase Ⅱ

       中国电影现代Ⅱ

The modernization of Chinese film phase II refers to the state of Chinese cinema between 1979 and 2012. The cinema of this period primarily depicted the collective posture of the Chinese nation in vigorously promoting reform and opening up, economic development, and material civilization. The modernization of Chinese film II can be divided into two shorter time periods. The first shorter period spans the 1979 to the 1990s. It witnessed the emergence of three film paradigms: first, the poetic realism paradigm, which aimed to reflect on past history in a poetic manner. Second, this smaller period exhibited the paradigm of realistic reform, which continued the tradition of representing realistic family ethics and social critique. The period also continued revolutionary paradigms. Films in this category addressed contemporary social issues. Third, films from 1979–1990s engaged in a paradigm of cultural reflection, which sought to reflect on broader modern history and cultural phenomena with sense of rupture. The second shorter period of the modernization of Chinese film phase II spans from 2002 to 2012. It is characterized by three dominant film paradigms: first, the Chinese blockbuster paradigm, which aimed to emulate and respond to the success of Titanic (1997). This paradigm also continued and expanded the modern revolutionary legends tradition in both ancient and contemporary settings. Second, films from this period also engaged in a paradigm of realistic reform, which continued the trend from the previous period. Third, this smaller period also introduced a light comedy paradigm, which attempted to bid farewell to the past and deal with contemporary issues in a lighthearted and comedic manner. During the modernization of Chinese film phase II, Chinese cinema focused on showcasing the self-reliance and self-sufficiency of the Chinese nation in the context of reform and opening up, economic development, and the construction of material civilization.

中国电影现代Ⅱ是指1979至2012年间的中国电影状况，主要描绘中华民族大力推进改革开放、经济建设和物质文明建设的集体姿势。它可以划分为两个短时段。1979年至20世纪90年代为中国电影现代Ⅱ的第一短时段，出现了三种影像范式：一是诗意现实范式，致力于诗意地反思过去的历史；二是现实改革范式，延续现实家族伦理范式、社会批判及革命范式传统，更多地直面当下社会现实问题的解决方式；三是文化反思范式，以断裂姿态试图反思更加深广的现代历史与文化症候。2002至2012年为中国电影现代Ⅱ的第二短时段，有三种影像范式成为主导：一是中式大片范式，试图仿效和回应《泰坦尼克号》的大片效应，但也同时构成对于现代革命传奇范式在古代和当代的延续和拓展；二是现实改革范式，继续延续上一时段现实改革范式；三是轻喜剧范式，尝试以轻松灵活的喜剧方式去告别过去和处理现实问题。这个时段中国电影集中展示中华民族在改革开放、经济建设和物质文明建设中的自力更生和自富自足姿态。

(3) The Modernization of Chinese Film Phase Ⅲ

       中国电影现代Ⅲ

The modernization of Chinese film phase III refers to the state of Chinese cinema from 2012 to the present. It primarily reflects the collective posture of the Chinese nation in seeking self-confidence and self-improvement. It can be observed through the following three film paradigms. First, the contemporary Chinese legend paradigm can be seen as a contemporary continuation of the previous modern revolutionary legend paradigm, but with a greater focus on depicting legendary hero stories set in contemporary China. Second, the fusion of drama and comedy was another paradigm, combining elements of drama and comedy or adopting a lighthearted comedic approach to depict individual destinies and stories that intersect with the nation. Third, the paradigm of realistic reform continues the tradition of the realistic family ethics paradigm since An Orphan Rescues His Grandpa.

The modernization of Chinese film has evolved through these three periods, resulting in a diverse range of film paradigms and corresponding artistic styles. Two prominent categories of Chinese cinema are the realistic family ethics paradigm and the legendary hero paradigm. They represent two distinct national characteristics of Chinese Film Modernity: extending the existing tradition of classical family ethics and the tradition of telling the story of extraordinary heroes since the Tang and Song dynasties. This demonstrates the enduring vitality of the ancient narrative literature’s family ethics tradition and the wisdom of human nature. At the same time, the tradition of shaping extraordinary heroes has shown broad public prospects.

中国电影现代性以如上所述的三个时段状况演变至今，出现了多种多样的影像范式及相应的艺术风格，其中比较突出的是两类：一类是现实家族伦理范式，另一类是传奇英雄范式。它们分别代表中国电影现代性的两种民族性特质，一是古典家族伦理传统和心性智慧传统，二是唐宋传奇以来的奇异英雄塑造传统。这表明，中国古代叙事文学中的家族伦理传统以及心性智慧传统获得了现代传承，展现出顽强的生命力；同时，古典奇异英雄传统也展现了广阔的公众前景。

(2) The Modernization of Achieving Common Prosperity for All 

       全体人民共同富裕的现代化

全体人民共同富裕的现代化，呼唤电影再现生活在中国大地东西南北中等不同地理方位的56个民族、14亿多人民对于共同富裕、公平正义的热爱和追求轨迹。《我和我的家乡》（2020）以五个短故事再现了全国不同地域人民共同奔小康的动人景观。全体人民的共同富裕不是一句空话而是实实在在的团结互助、相濡以沫和同舟共济的集体实践。

(3) The Modernization That Entails the Harmonious Coordination of Material Civilization and Spiritual Civilization

       物质文明与精神文明相协调的现代化

物质文明与精神文明相协调的现代化，期待电影高度重视中国人民的物质生活与精神生活之间的协调和平衡，而不能容忍那种只要物质富裕和幸福而不要精神健康和高尚的极端物质主义偏颇。《没有过不去的年》（2021）中王家四兄妹为了挣钱以及享受物质富裕而忽略了关心年老、体衰和病重的母亲宋宝珍。随着中国人口物质文明水平越来越发达，与之相应的国民精神文明水平的持续提升就变得越来越关键了，而这恰是中国电影需要认真处理的紧迫课题之一。

(4) The Modernization That Entails Harmonious Coexistence Between Gumans and Nature 

       与自然和谐共生的现代化

与自然和谐共生的现代化，对中国电影提出了发扬中国式“天人合一”和“万物一体”智慧传统并与现代生态环保理念及绿色文明建设相汇通的新召唤。《狼图腾》（2015）、《美人鱼》（2016）、《流浪地球》（2019）和《流浪地球2》（2023）等影片凸显了人与自然和谐共生的当代价值。这既是一个在中国式现代化进程以来一直在持续的课题，更是一个在新的现代化征程上变得愈益严峻的全球性课题，需要中国电影人以巨大的勇气和卓越的才智予以创造性应对。

(5) The modernization That Follows the Path of Peaceful Development

       走和平发展道路的现代化

走和平发展道路的现代化，给中国电影提出了如何在全球性生存境遇中透视中国角色和中国贡献的创造性机遇和积极担当。《湄公河行动》（2016）、《红海行动》（2018）、《战狼2》（2019）等影片，相继反映中国人在当代国际交往事务中秉承人类命运共同体理念，以和平发展和和平崛起的理念处理各种问题，在其中向全球各国人民展示了中华民族爱好和平和团结友爱的动人形象。