2014 年 2 月 16 日柏林国际电影节闭幕式上，影片《白日焰火》意外夺得最佳影片金 熊奖、青年演员廖凡摘得柏林影帝银熊奖，一时间刁亦男这个从前不为国内观众所熟知的 电影导演，成为国内电影界热议的焦点。这部同时取得国际电影节大奖和不俗票房成绩的 电影作品在类型片的框架下输出作者表达，在艺术电影的创作基调中融入商业元素。刁亦 男由此被许多电影学者视作国内类型-作者电影的开拓性导演。在近三十年的从影生涯中， 刁亦男始终对作者电影有着执着的追求，他坚信：“一部好的作品首先是作者电影”，同时 他也一直在探索类型与作者表述的沟通路径，力图达到商业与艺术的平衡。刁亦男深耕类 型片不是为了丰富或创新类型片形式，而是力图在商业和类型的框架下，用更容易被观众 接纳的方式完成作者表达。 本篇论文主要分为四个章节，第一章节将刁亦男自 2000 年以来的电影导演经历划分 为独立电影和类型-作者两个创作时期，论述刁亦男接受的电影教育背景与不同时期的创 作偏好，并围绕着四部电影作品内容着重阐述刁亦男的从业经历及创作轨迹。第二章以刁 亦男电影文本为分析研究对象，结合好莱坞类型电影理论从东方化的黑色电影叙事模式、 本土化的暴力奇观、情爱纠葛与奇情迷恋这三个方面对刁亦男电影中的类型创作做出深入 的探究和剖析，探析刁亦男如何借用相应的类型外壳，强化电影商业性，吸引观众走进影 院，获得票房成功。第三章节以作者论为理论支撑对刁亦男作者身份进行界定，从底层失 意者双重身份之下的人性困境、反类型式的女性形象、城镇边缘空间的营造、对动物的个 性化关照，这四个方面深入探析四部电影作品中深刻的作者表达。结语部分将刁亦男定义 为“类型中的作者”，对他弥合类型与作者的缝隙、找到二者沟通的路径的具体方法做出 剖析，为国产电影创作者提出一些有意义的创作思考。

At the closing ceremony of the Berlin International Film Festival on February 16, 2014, the film "Daytime Fireworks" unexpectedly won the Golden Bear Award for Best Film, and young actor Liao Fan won the Berlin Film Emperor Silver Bear Award, and for a time Diao Yinan, a film director who was not well known to domestic audiences before, became the focus of hot discussion in the domestic film industry. This film, which has won both international film festival awards and good box office results, exports the author's expression under the framework of genre films, and integrates commercial elements into the creative tone of art films. Diao Yinan is thus regarded by many film scholars as a pioneering director of domestic genre-author films. In the past thirty years of film career, Diao Yinan has always had a persistent pursuit of the author's film, he firmly believes that "a good work is first of all the author's film", and he has also been exploring the communication path between genre and author expression, and strives to achieve a balance between business and art. Diao Yinan's deep cultivation of genre films is not to enrich or innovate the form of genre films, but to try to complete the author's expression in a way that is more easily accepted by the audience under the framework of business and genre. This paper is mainly divided into four chapters, the first chapter divides Diao Yinan's film director experience since 2000 into independent film and genre-author two creative periods, discusses Diao Yinan's film education background and creative preferences in different periods, and focuses on Diao Yinan's career experience and creative trajectory around the content of the four film works. The second chapter takes Diao Yinan's film text as the object of analysis and research, combines Hollywood genre film theory to make in-depth exploration and analysis of the genre creation in Diao Yinan's films from the three aspects of the narrative mode of film noir, the localization of violent spectacles, love entanglement and strange love, and analyzes how Diao Yinan borrows the corresponding genre shell, strengthens the commerciality of the film, attracts the audience into the theater, and achieves box office success. The third chapter defines diao Yinan's authorship with the authorship as the theoretical support, from the human dilemma
under the dual identity of the frustrated at the bottom, the anti-genre female image, the creation of the edge space of the town, and the personalized care for animals, these four aspects deeply analyze the profound author's expression in four film works. The fourth chapter defines Diao Yinan as "the author in the genre", analyzes the specific methods of bridging the gap between the genre and the author, and finds the path of communication between the two, and puts forward some meaningful creative thinking for domestic film creators.