现代性,经过学术界的实践与阐发,已不仅仅是一个外来理论话语,而是一个在中国本土扎下根来的、富有生命力和有效性的理论话语。任何艺术创作都涉及对现代性价值观的态度即价值取向的问题,电影也不例外。本文从现代性维度考察中国电影史上作为特定文化现象的第四代、第五代、第六代三代导演群体的创作流变与文化含义。鉴于西方现代性在社会现代性与审美现代性两个维度的合适张力中发展的镜鉴。我们在新世纪电影中对物质主义、感性娱乐、青年意识形态等新现代性内涵表达我们的宽容之时,对现代性之另一维度即审美现代性的呼唤显得颇为急迫而重要。 Modernity, after its practice and elucidation in the academic field, is no longer merely an external theoretical discourse but a theoretical discourse rooted in the Chinese soil and full of vitality and effectiveness. Any art creation involves the attitude towards value of modernity, that is, the value orientation. Movies are no exception. This paper examines the creative rhetoric and cultural implications of the fourth, fifth, sixth generation and third generation director groups as a specific cultural phenomenon in the history of Chinese cinema from the perspective of modernity. In view of the development of western modernity in the proper tension between the two dimensions of social modernity and aesthetic modernity, When we express our tolerance for new connotations such as materialism, emotional entertainment, and youth ideology in the movies of the new century, it is urgent and important that we call for the other dimension of modernity, the aesthetic modernity.