新时期乡村电影中的乡村具有两种面目:田园牧歌的乌托邦和愚昧麻木之地,而前者实际上一直占据优势地位,乡村在影片中被描述为恋人、妻子或者父母,扮演着拯救抚慰都市的角色。后新时期乡村的拯救掺杂着主流意识形态对乡村的关注,实际已沦落为被拯救者。对乡村的美好想象反映出知识分子的思乡意识和民粹意识。 The countryside in the new era has two distinct characteristics: the pastoral Utopia and the stupid numbness, while the former has actually occupied the dominant position. In the film, the village is described as a lover, wife or parent, who plays the role of saving and soothing the city Character. In the new period, the village salvation dipped into the mainstream ideology’s attention to the countryside, and actually it has been reduced to being a savior. The beautiful images of the countryside reflect the homesickness and populism of intellectuals.