“独立”的概念与“制度”的概念相互依存在第二期的主体文章中,我们试图探索对中国独立电影尤为重要的“制度”问题。制度时于独立电影制作的意义不言而喻,这里我们在尝试从一些可能的角度着手思考电影写作应该如何去理解其研究时象所面对的“制度”从一个意义上来说.电影学最直接的研究时象是一种再现的现实也许我们并非热衷于“制度”在现实中存在的形态.而是透过电影看它在这个再现的现实中的折射。对制度的思考一方面无法脱离对“再现的政治”的讨论,另一方面又应兼顾其时美学和语言直接或间接的影响。《口述与历史:<二十四城记>中的历史逻辑》在开篇便阐述了时“制度”的理解,即“这个‘制度’可以理解为美学的、政治的甚至是经济的.但无论如何,它都将自己体现为一种得体而强行的意识形态系统。”笔者杨北辰提供了一个独特的切入点——在贾樟柯作品年表体现的影片或导演的历史观的演变中关注制度的存在文章主要检验了贾樟柯在他上两部电影中延续的叙事手法:口述(私人)历史。笔者一方面探讨了这种“保留群众记忆”的方法在制度的监控下寻找到的存在形式;同时也回到电影的本体,提出了在再现“不可再现的”时.言语和影像谁更加“高尚”的“道德问题”.郝敬班(伊比利亚当代艺术中心影像档案馆) The concept of “independence” is interdependent with the concept of “system.” In the second issue of the main article, we try to explore the issue of “system”, which is particularly important for Chinese independent films. The significance of the system in the production of independent films is self-evident, and here we are trying to think in some possible ways about how the cinematic writing should understand the “system” it faces. In a sense, The most direct study of learning is a reality of reproduction Perhaps we are not keen on the “system” in the reality of the existence of the form, but through the movie to see it in this reality of refraction. On the one hand, the system of thinking can not be divorced from the discussion of “politics of reproduction ”, on the other hand, it should take into account both the direct and indirect influences of the time aesthetics and language. “Oral and Historical: The Historical Logic in the Twenty-Fourth City” begins with the understanding that the “system” can be understood as an aesthetic, political, and even economic But in any case, it embodies itself as a decent and forcible system of ideology. “” The author Yang Beichen offers a unique starting point - the evolution of the film’s or director’s view of history embodied in the chronology of Jia Zhangke’s works The article on the existence of the system of concern focuses on the narrative technique Jia Diaoke wrote in his last two films: oral (private) history. On the one hand, the author explores the form of existence of such a method of “keeping mass memories” under the supervision of the system; at the same time, it also returns to the ontology of the film and proposes when reproducing “irreproducible” Image who is more “noble ” “moral problems ” Hao Jingban (Iberia Center for Contemporary Art Imaging Archives)