中国电影发展到90年代,尤其是到了“第六代”以后,中国影坛显现出一条耐人寻味的“界线”,即青年电影创作群体的分化。年轻的导演们针对自身不同的创作情境选择了不同的创作策略,一派是坚守本土,老老实实,在体制内舞蹈(即“土堂会”),另一派走“曲线救国”的路线,绕过海关把家什舶到国外叫卖,墙内开花墙外香(即“洋堂会”)。两个堂会同在江湖上混事,从来没有发生过什么矛盾,连口水仗都没有打过,彼此心知肚明心照不宣各奔各的前程。仔细想起来,“洋堂会”和“土堂会”的分界实际上是一次历史进步。在90年代以前,所有人拍完电影要么通过审查走向影院面对观众,要么置之高阁尘封雪藏等待历史回眸。等到了 Chinese film development to the 90’s, especially to the “sixth generation”, the Chinese film show an intriguing “line”, that is, the differentiation of young film creation groups. Young directors choose different creative strategies according to their different creative situations. One group sticks to the local community, honestly performs the dance within the system (ie, “earth church”), and the other walks the route of “saving the nation by curves” Customs Shusheng Shousheng sold abroad, the walls of the wall fragrant flowers (ie “Western Church”). The two churches have been mixing together on rivers and lakes. There have never been any contradictions between them. Even the bickering battles have not been fought. They know each other well and are unshirkable in their future. In retrospect, the dividing line between “Yang Church” and “Earth Church” is actually a historical progress. Before the 90s, everyone finished the movie or cinema through the review to face the audience, or set the dust sealed awaiting historical review. Waiting