新世纪以降,中国都市化进程在平稳有序的政治、经济、文化环境中向前推进。我们用“现代化未完成时态”来形容毫不为过。与90年代社会结构剧烈重组与骤变格局相比,中国都市文化语境增添了更多现代化气息和国际化潮流。以电影为代表的视觉文化在这一时期充分发挥了其强悍的时空记录功能,更多地将国际化大都市、世界级城市群纳入表达范畴,充分刻画出了当代都市的种种消费文化特征及属性:多元性、时尚性、易变性、娱乐性以及碎片性等等,不一而足。可以说,这一时期的都市电影现实很难用某一种潮流或流派加以概述,更难于简单地在一种历史格局中加以归纳和阐释。新世纪的都市电影创作进入了一个最为丰富、多元的大众传播时代。然而,在这一阶段进程中,国产都市片中的现实主义传统并未被彻底消解,改变的也仅仅是现实主义的具体呈现形态。 In the new century, the process of urbanization in China is moving forward in a stable and orderly political, economic and cultural environment. We use “modern unfinished tense” to describe no excuse. Compared with the drastic reorganization and sudden change of social structure in the 1990s, the urban cultural context of China has added more modern atmosphere and international trend. The visual culture represented by the movie gave full play to its powerful space-time recording function during this period, and included more cosmopolitan and world-class metropolitan areas into the categories of expression and fully delineated various consumer culture features of the contemporary metropolis and Attributes: Pluralism, fashion, variability, entertaining, fragmentation and more. It can be said that the reality of urban film during this period is difficult to use a particular trend or genre to outline, more difficult to simply in a historical pattern to be summarized and explained. Metropolitan film creation in the new century has entered one of the most abundant and diverse mass media era. However, in this phase of the process, the realist traditions in domestic metropolitan films have not been completely eliminated, and the changes have only been the concrete manifestations of realism.