标题：Deviation and Restoration of Mundaneness and Mythological Nature in Chinese Cinema—Evolution of Chinese Directors of Different Generations over the Past Forty Years after the Reform and Opening-up Policy
摘要：ABSTRACTFilm is mundane both as an art form and as a myth. It is even considered a mundane art with a mythological nature; however, its mundaneness overshadows the mythological aspect. Over forty years after the reform and opening-up policy, the film industry in China has gone through a series of changes from obedience to reflection, inheritance to criticism, as well as rebellion to restoration. In the cycle of cultural representations from gradual recovery to restoration and transformation, and to international fame and diversification, directors of different generations (i.e., the Third, the Fourth, the Fifth, the New) have been hovering in confusion between mundane life and mythology. They have been moving back and forth from explaining and glorifying mythologies to weakening and challenging them, thus they have been marked with different shades and colors by the transitional age in their repetitive explorations and attempts. The latest generation of directors in mainland China, i.e., the aggressive generation, have ultimately returned to the reality of the coexistence of the mundane and mythical natures, and are trying to break through boundaries and combine various genres. The aggressive generation is likely to indicate the right direction and the inevitable course of future film creation in mainland China.摘要电影作为艺术，它是世俗的艺术；作为神话，它是世俗的神话。或者说电影是具有神话性的世俗艺术；世俗性大于神话性。改革开放四十年来，中国电影历经了顺从与反思、传承与批判、叛逆与回归等一系列变迭。在渐渐复苏、回归转型、蜚声国际、多元共生的文化表象链条上，第三代、第四代、第五代、新生代等不同代际的电影导演持续在世俗和神话之间徘徊、惶惑，在阐释、颂扬神话与消解、挑战神话之间往返奔走，在一次次走出与返回、尝试与找寻中被转型着的时代烙下色彩不同、深浅不一的印记。尝试突破边界、类型融合的新锐导演最终归于世俗与神话共舞的创作实际，也许指明了中国大陆未来电影创作的正确方向和必由之路。
关键词：Reform and Opening-up Policy; Chinese Film Industry; Directors of Different Generations; Mundaneness; Mythology; 改革开放; 中国电影; 代际导演; 世俗; 神话
