本文以“情动经济”为理论线索，分析中国导演贾樟柯电影中的情感流通，理解近40年来经济巨变中由社会情动和人际情感组织的新型社会运作方式。在对人的生存持续危机的关注上，“情动转向”理论与贾樟柯电影契合，二者都诞生在资本主义的全球化发展时代。众多极端情况威胁着人的生存，日常生活中社会政治、经济和文化等方面的新型运作重塑了主体的存在状况。

论文第一章介绍梳理“情动经济”概念与研究方法。情动经济包括情动运行的一般状况，情感的流通组织了情动的共同体,由欲望的政治化再现即“残酷的乐观”构建了资本主义经济下的日常生活。将电影视为人物的情动实践，论文分析电影中人物与人际关系及物质世界的综合互动。

第二章说明情动经济依赖物质世界建设搭建的两种情感交流手段，即情动经济的等价物和基础设施。情动交流的等价物包括“烟酒茶糖”和“金钱”，它们促成情动交换。火车和站台是情动经济网络的基础设施之一，它们构造了情动经济运行的社会空间、组合了不稳定的情感共同体。

第三章分析人际关系间的“暴力”状况是情动经济网络的行动者。暴力勾连了情动经济之中的物质要素，连接了人物的人际关系与日常生活。人们在日常暴力中培养了对残酷生活的耐受性，通过诉诸暴力短暂地突破僵局。暴力状况是情动经济中残酷生活进行调整僵局、培养人物生活直觉的主要手段。

第四章重审情动经济意义上的空间内涵。空间盛放了情动经济诸要素，是情动经济运行的场域和人物的生存栖息地。人物努力构建空间归属感，空间的挤压培养了人们“重返”本地的惯性。“风景”是人物短暂突围僵局后休憩的特殊空间，新型技术酝酿了新的空间。

论文认为“情动经济”概念揭示了通过情动进行的社会新型运作模式。世界形成了情动经济网络。它的产生源于八十年代经济转型的强烈刺激，凭借情动自身的运动能力、物质世界的基础网络建设、现实中不断发展的人际关系以及资本主义的空间想象逐步壮大。

This paper takes the concept "affective economy" as a theoretical clue to observe the emotionally meaningful scenes in the films of Jia Zhangke, a sixth-generation Chinese director. Through analyzing the plot in which the characters break through the constraints and seek space for survival, we understand the new way of social operation organized by social affect and interpersonal emotion under the great economic changes over the past 40 years. The "affective turn" is in line with Jia Zhangke's films in terms of its focus on the ongoing crisis of human existence. Both affect theory and Jia Zhangke's films were born in the era of globalization of capitalism. Extreme situations threaten the existence of human beings, while socio-political, economic and cultural changes in everyday life reshape the existence of the subject.

Chapter 1 introduces the concept of "affective economy" and its research methodology. It describes the general situation of affect movements. The affective community is organized through the circulation of affect. Ultimately, cruel optimism structures the everyday life in a capitalist world. Take the series as an affective practice, this paper focuses on the integrated interactions between interpersonal relationship and dynamic matter reflected in the film narratives.

Chapter 2 describes two means of affective interaction in the film and defines them as equivalents and infrastructures of the affective economy. The equivalents of affective exchange include tobacco, alcohol, tea and sugar and money, all of which facilitate the exchange of affect. One of the infrastructures that build the network of affective economy is the train, especially the platform, that constructs the social space in which the affective economy operates and assembles the unstable affective community in the first place.

Chapter 3 analyzes the violent situation to show that violence is an actor that connects the material elements of the affective economy and links the interpersonal relationships in people's everyday life. People develop a tolerance for cruel life through everyday violence. They briefly break out of the impasse by turning to violence. Violent situation is the main way by which the cruel life adjusts the impasse and cultivate people’s intuition.

Chapter 4 redefines the meaning of space in the sense of affective economy. The space is the field where affect circulates and the living habitat of people. People strive to build a sense of belonging in the space, while the squeeze of space forces people to form a habit of return. Scenery is a special space for people to rest after a short break from impasse. The emergence of new technologies may generate new spaces.

This paper argues that the concept of "affective economy" explains the impact of social change on everyday life and the behavior patterns of people under such influence.