本文以“文化身份”的视角,聚焦中国的新生代导演及其都市情绪电影。作者认为:对于新生代而言,其以“未完成的怀旧”为母题、以“一分为二”和“合二为一”为隐性结构的都市电影,因其面向现代的质疑姿势,呈现出某种程度的现代主义文化立场和主体身份建构冲动。但这种文化上的“现代性”拷问通向的是“后现代性”的发现和主体身份的弥散。而这种弥散进一步体现在:由于影像中都市和都市个体的被符号化和情绪化叙述,这批以文化反思为隐性诉求的现代主义文本事实上落入了后现代的平面化叙事陷阱,从而参与建构关于现代都市的平面想象和文化消费。 This paper focuses on the Cenozoic directors of China and their metropolitan emotional movies from the perspective of “cultural identity.” The author believes that for the Cenozoic, its “unfinished nostalgia” as the theme, “one in two ” and “into one ” as the recessive structure of the urban movie, due to Facing the modern questioning posture, it presents a certain degree of imposition of modernist cultural standpoints and subject identity construction. However, this cultural “modernity” torture leads to the discovery of “postmodernity” and the dispersion of the subject’s identity. This dispersion is further reflected in the fact that these modernist texts whose implicit appeal to cultural reflection actually fell into the postmodern narrative narrative trap due to the symbolized and emotional narration of the individual in the city and city in the image, Thus participating in building a plane of imagination and cultural consumption about the modern city.