本文为探究“小资”要素在中国电影发展各时期中的异同，分别以毛时代、邓时代和全球化 时代为背景，勾画出社会政治经济环境的变化对“小资”要素演变的影响。在毛时代“文艺为工农 兵服务”的创作导向指引下，“个人主义、批判现实主义、感伤主义”等小资产阶级文艺要素在电 影作品中被摒弃和遮蔽。城市小资产阶级是当时主要的观影群，却不是电影创作的主体。在邓时 代，随着社会商品经济体制的改革，具有“个人主义和感伤主义”特征的伤痕电影迎来大众观影 潮。特别是1980年代后期兴起的“王朔文学”电影，描写中国当代社会中的一个特殊青年阶层- “痞子”，揭开了“新”小资时代的序幕。随着1995年好莱坞电影重返中国市场，中国电影进入了 全球化媒介时代。带有浪漫、反叛、感伤、搞笑等特征的“新”小资电影成为了中国多元电影市场 的组成部分，具有“新”小资特征的大中学生和城市青年作为“新”小资电影的观影主体而崛起， 令中国影视创作主体从单一的工农兵和伟人形象朝着多元大众形象更近了一步，具有进步意义。

In order to explore the similarities and differences among the "Petty bourgeois" factors in the various periods of Chinese film, this paper traces the evolution of the "Petty bourgeois" factors in the context of the Mao era, the Deng era, and the globalization era, respectively. First of all, under the Guidance of "Literature and Art Serving the Workers, Peasants and Soldiers" in the Mao era, film became a tool for propagating the ideology of class struggle. Elements of petty bourgeoisie literature such as "Individualism, Critical Realism, Sentimentalism" were abandoned and obscured in the film. The urban petty bourgeoisie was the main cinema audiences at the time, but it was not the subject of film creation. Second, in the era of Deng, as the reform of the social commodity economy, the traumatic literature film with the characteristics of "Individualism and Sentimentalism" was popular with the public. "Petty bourgeois" elements of literature and art abandoned by the Mao era began to return to the stage of history. Especially in the late 1980s, the "Wang Shuo Literature" movie, which depicts a special youth class in modern Chinese society, opened the prelude to the "new" Petty bourgeois era. Finally, with the return of Hollywood films to the Chinese market in 1995, Chinese films entered the era of globalization. Hollywood films produced a large amount of "new" petty bourgeois with the aesthetic taste of "Western middle class." With the rise of "new" petty bourgeois, films which expressed romance, rebellion, sentimental, comedy have become part of China’s diversified film market. Students and urban youth with “new” petty bourgeois character became the subject of the “new” petty-bourgeois films. The main body of Chinese film creation has taken a step closer to the image of a multi-faceted public image.

【摘要】
 1. 研究背景与目的
 2. 全球化媒介秩序中的中国电影
 3. 各时期中国电影的“小资”要素
  1)“小资”要素在毛时代文艺中的评判及影响
  2)“小资”要素在邓时代电影中的再生
  3) 全球化时代的“新”小资电影
 4. 结论

• 陈楠(高神大學 国际商务学部 中国学专业) | 진남