校园电影曾经是“前卫文化”的某种代名词,它指向某种实验、先锋而又“阳春白雪”和者盖寡的状态。从跨世纪的立场来观察,这种指认是有点误读的。中国社会飞速地向前发展,进入九十年代后,这种发展态势已经在各个领域中体现出来。特别是高级知识分子群体的扩大,进而带来校园含义的变迁,由原来高不可攀但又窄得可怜的“象牙塔”渐渐在向普遍的扩大的“建筑群”转化。校园在扩大,校园文化在扩大,其实质就是在“世俗化”这一总的社会趋势下,“精英文化”与“大众文化”的分野将不再是以传统的模式持续,随着社会教育制度和福利的普及化,“知识大众”将取代“普罗大众”而成为社会人群结构的主体。这种世纪性的变迁,为我们影视提出了许多前所未有的新问题。 Campus movies used to be “avant-garde culture,” some kind of synonymous, it points to some kind of experiment, pioneer and “Spring Snow” and the cover of widowed state. From the cross-century position to observe, this designation is a bit misread. The rapid development of Chinese society progressed rapidly. Since the 1990s, this development trend has been manifested in various fields. In particular, the expansion of high-ranking intellectuals, which in turn brought about changes in the meaning of the campus, gradually transformed from the “ivory tower”, which was unattainable but narrowly pitiful, to the universally expanded “complex of buildings”. The expansion of the campus and the expansion of campus culture are essentially based on the general social trend of “secularization”. The distinction between “elite culture” and “popular culture” will no longer be sustained by the traditional model. With the social education System and welfare of the popularization of “public knowledge” will replace the “general public” and become the mainstay of the social structure of the population. This century of change brings many new problems to our movie and television.