80年代当以张艺谋、陈凯歌为代表的新历史电影几乎一统天下之时,也许谁也没有料到90年代中国电影会自发形成如此大跨度的文化转型。没有凌厉的宣言、招摇的标签,也没有玄虚的炒作和激烈的纷争,90年代中国新写买电影一浪高过一浪,内涵不断增长、扩张和延伸,吸引了谢铁骊、孙沙、张艺谋、黄建新、宁瀛、胡柄榴、夏钢等三、四、五代导演及张元、管虎等第六代新锐导演,纷纷加盟此间。《北京,你早》、《秋菊打官司》、《吴二哥请神》、《混在北京》、《天网》、《被告山杠爷》、 When the new historical films represented by Zhang Yimou and Chen Kaige were almost unified in the 1980s, perhaps no one expected that the 1990s will have spontaneously formed such a large-scale cultural transition. There is no sharp declaration, a swaggering label, no mysterious speculation and fierce disputes. In the 1990s, the new films written in China were wave after wave, with their connotation growing, expanding and extending. They attracted Xie Tieli, Sun Sha, Zhang Yimou, Huang Jianxin, Ning Ying, Hu Zhaomei, Xia Gang and other third, fourth and fifth generation directors and Zhang Yuan, Guan Hu and other sixth-generation cutting-edge directors, have joined here. “Beijing, you are early,” “Qiu Ju litigation,” “Wu brother asked God,” “mixed in Beijing,” “Skynet,” “defendant Hill Club”