放眼产业化大潮中的国产电影市场，新千年以来，国产影片虽在产出数量和票房上持续攀升，但却在艺术层面上同样面临着同质化类型桎梏、文化表达含混抵牾、审美浅表粗糙、想象匮乏等“时代影人的集体焦虑”，于是，呼吁影视作品中的诗意复归俨然成为大众对当下电影作品审美的期盼。“诗意”作为民族精神的外化，长久以来，一直以一种文学气质和精神品格的形态，贯穿在中国各历史时期的影片中，呈现出不同的审美形态，并发展成为一股渐隐渐显的美学脉络。2010年以来，一批极具个人标识的新生代导演登上电影史的舞台。他们的作品中，诗意的表达不再局限于只读的观赏性或是文学性，而是继承传统诗意中的具有人文关怀的“悲悯”气质，既在作品深度上关照现代化进程当下的自我精神家园的返璞重建；又在作品的审美形式上勇于尝试“新媒介”美学实验风格，使诗意完成了对电影的深层镶嵌。

目前许多研究内容多是基于对新生代导演的外部生存进行创新研讨，对新生代导演的研究仍缺乏向内的关照。本文首先在代际范式下对新生代导演进行界定与划分。然后结合诗意美学相关理论，解决三个层次方面的问题：第一层，何为诗意？主要是对基础概念史的梳理，包括对“诗意”、“电影中的诗意”、“诗意美学”等几个重要概念进行梳理总结。第二层，何为“诗意生存？”、分析“诗意”的生存方式。从新生代导演诗意生存的历史语境、社会语境以及艺术语境出发，挖掘新生代导演选择诗意生存的外在动机与内在关联；与此同时，结合具体影片的创作实践去剖析新生代导演在作品中如何建构诗意、完成对电影的内外镶嵌，呈现出何种创作策略。第三层，何为新生代导演的诗意美学追求？即探寻“诗意生存”路径下“诗意美学”在影视作品中的新发展。

Looking at the domestic film market in the wave of industrialization, although the output and box office of domestic films have continued to rise since the new millennium, they also face the collective anxiety of contemporary filmmakers at the artistic level, such as the constraints of homogeneous types, ambiguous cultural expressions, rough aesthetic surfaces, and a lack of imagination. Therefore, calling for the poetic restoration in film and television works has become the public's expectation for the aesthetic appreciation of current film works. As an externalization of the national spirit, "poetry" has long been a form of literary temperament and spiritual character that permeates films from various historical periods in China, presenting different aesthetic forms and developing into a gradually fading aesthetic vein. Since 2010, a new generation of directors with strong personal identities have stepped onto the stage of film history. In their works, the expression of poetic meaning is no longer limited to read-only ornamental or literary aspects, but inherits the humanistic and compassionate temperament of traditional poetry, which not only pays attention to the reconstruction of one's own spiritual home in the process of modernization in depth; He also bravely attempted the "new media" aesthetic experimental style in the aesthetic form of his works, completing the deep embedding of poetry into the film.

At present, many research content is mainly based on innovative discussions on the external survival of the new generation of directors, and there is still a lack of inward attention to the research of the new generation of directors. This article first defines and divides the new generation of directors under the intergenerational paradigm. Then, combined with the relevant theories of poetic aesthetics, we can solve the problems in three levels: the first level, what is poetic? It mainly combs the history of basic concepts, including "poetic", "poetic in movies", "poetic aesthetics" and other important concepts. The second layer, what is "poetic survival?" Analyze the way "poetic" exists. Starting from the historical, social, and artistic context of the poetic survival of the new generation of directors, this paper explores the external motivation and internal correlation of the new generation of directors choosing poetic survival; At the same time, combined with specific film creation practices, analyze how the new generation of directors construct poetry in their works, complete the internal and external embedding of the film, and present what creative strategies. Third, what is the poetic aesthetic pursuit of the new generation directors? That is to explore the new development of "poetic aesthetics" in film and television works under the path of "poetic survival".