中國大陸文化界之犬儒化－張藝謀個案分析

中國大陸民主化的議題一直在政治學界備受關注，民主化理論預期，隨著中國現代化的進程加快，將出現中產階級帶動政治改革，使大陸邁向民主化。但改革開放政策已過了三十年，中國仍沒有民主化的跡象。本文觀察中國大陸的改革情況，發現中國共產黨政權在1989年六四天安門事件後即向極權體制回歸，採取「經濟、社會持續開放」與「政治嚴控」的贖買與強制「軟、硬」二手策略，使中國新興的知識、文化菁英犬儒化，退縮回私人生活領域、不問公共事務，甚至更進一步地逢迎當前的專制政權，並為其辯護。而由於這些菁英們逐漸在改革開放過程中同化到中共當局的統治系統中，民主化運動遂失去了主要的領導者，中國大陸的民主化進程遲遲不能往前推進，此為重要因素之一。本文以大陸電影導演張藝謀為目標進行個案分析，討論中國大陸文化菁英犬儒化的原因、過程與方式。張藝謀早期的電影作品被評論視為充滿個人反抗意識、向當局權威挑戰的佳作，但隨著他的作品屢次遭禁，中共對他的打壓逐步升級；到了九○年代晚期之後，他終於放棄個人堅持，轉而追隨江澤民時期的「穩定壓倒一切」和胡錦濤時期的「和諧社會」政策方向，拍攝符合中共統治意識型態的「主旋律」電影。到了2008年8月他執導北京奧運開幕式，並於開幕式籌備期間正式獲選為第十一屆全國政協委員，加入中共政治體系。研究發現，張藝謀的例子不是個案，中共的專制統治一方面壓迫人民的獨立人格與自由思想，另一方面則鼓勵消費主義與物質主義，最終使改革開放後的許多中國菁英們成為犬儒，不再挑戰當局權威。

關鍵字

中國；民主化；中產階級；張藝謀；犬儒化；中國電影；胡錦濤

並列摘要

Democratization in China has always been considered by political scientists to be a topic for discussion. The democratization theorists speculate that as modernization in China progresses, the forming of bourgeois will motivate the reform on the political arena. After thirty years, however, of the attempt of modernization by Communist regime into market economy, there is still no sign of democratization occurring in China. By observing the process of Chinese modernization , the dissertation analyzes the return of the Communist regime after the Tiananmen Square protests of 1989 to totalitarianism by using the two contrastive methods – loosening the control on the economic and social arena while stiffening the space for political reformation. The two contrastive policies make Chinese intellectual and cultural elites cynics who cringe back to their private life, unwilling to be engaged into the public affairs. There are even elites who deliberately ingratiate themselves to the totalitarian regime by defending its policies. Gradually, the intellectual and cultural elites have been absorbed into the Communist regime. As a result, the motivating force for democratization has been lost. This is one of important factors why democratization in China is unable to progress. The text aims at the case study of the Chinese director Zhang Yimou and analyzes why and how the Chinese elites conform themselves to the authority and become cynics. Zhang Yimou started his career as a film director by excelling himself in such filmic motifs as individual rebellions against the authority. His films being curbed a few times, the Communist regime began to escalate the suppression on his works. Zhang Yimou finally gave up his artistic ideal and conformed to the governmental policies and ideology, such as Jiang Zemin’s “maintaining stability is of top priority,” and Hu Jinto’s “harmonious society.”. Not until August 2008 was he chosen to direct the opening ceremony of the Beijing Olympics and was also selected as a National Committee member of China's Chinese People's Political Consultative Conference, officially entering the Communist political system. Many researches have supported that Zhang Yimou is not an individual case. On the one hand, the totalitarianism of Communist regime suppresses the masses, curbing their development of the independent personality and forbidding the freedom of thoughts. On the other, it promotes consumerism and materialism. The result is that most Chinese elites during modernization give away the idea of challenging the authority and eventually become cynics.

並列關鍵字

China ； Democratization ； bourgeois ； Zhang Yimou ； Cynicism ； Chinese film ； Hu Jinto

參考文獻

王超華，2004，《歧路中國》，臺北：聯經

馬起華，1976，《政治心理分析》，台北：正中

Anne-Marie Brady, 2008, “Marketing dictatorship : propaganda and thought work in contemporary China,” Lanham : Rowman & Littlefield

Ben Xu, 1999, “Disenchanted Democracy”, The University of Michigan Press

Bruce J. Dickson, 2003, “Red Capitalists in China: The Party, Private Entrepreneurs, and Prospects for Political Change,” Cambridge University Press

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中國大陸文化界之犬儒化－張藝謀個案分析

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