2020年，由大鹏导演执导的《吉祥如意》入围了第23届上海电影节金爵奖，并在一年后登陆国内电影院线，其独特的纪录形态引起了电影界的注意。整部电影兼容家庭私影像、伪纪录片、反身式纪录片等多种类型特征，聚焦东北农村家庭困境的同时也指涉了社会层面的养老话题，不仅在主题表达上实现了从个体书写到大众传播的超越，在形式上也呈现出开拓影像边界的实验性。它的主体由《吉祥》与《如意》两个部分组成，在元电影创作意识的统摄下，《如意》通过对电影创作过程和观看机制的暴露，解构并重塑了《吉祥》，互文性和反身性的特征贯穿于整部电影的创作之中，作为隐藏的影像结构，与观众、演员、文本持续不断地对话，展现出一种创造性的作者表达。此外，《吉祥如意》还构建了纪实与虚构影像交错、生活与影像戏剧共生的表现形态，真实与虚构的边界在此间呈现出令人惊叹的流动性。

本文首先从电影史延承的角度辨析《吉祥如意》的纪录形态，探索它如何以纪实与虚构等多种影像材质的并置、演员的创造性使用为艺术表达手段进行体裁实验，并提炼出《吉祥如意》的两个主要特征——互文性与反身性，进而围绕这两个特征对其艺术表达进行研究。从叙事视角、影像符号、文本外部三个纬度探究其互文性表达，从摄影机的暴露、观众身份的自觉和导演身份的在场等角度，辨析《吉祥如意》如何通过反身策略达到文本的自反。

随着新媒体技术的不断发展，影像从未像当下这样如此紧密地包围着人们的生活，影像创作的未来也面临着越来越多的变数与可能，《吉祥如意》的创作实践不囿于惯用语法，不被陈规束缚，通过作者性的表达实现思想传递的自由，这在当前飞速变革的创作环境中，具有非同寻常的先锋意义。笔者期望通过对《吉祥如意》的深入探究，给予影像创作者们以一定启发。

In 2020, the film "The Reunions" directed by Dapeng，was shortlisted for the Golden Goblet Award at the 23rd Shanghai Film Festival and landed in domestic theaters a year later. Also, its unique record form attracted the attention of the film industry. "The main body is composed of two parts: "A Reunion" and " A Final Reunion ". The whole work has various types of features such as family private images, pseudo-documentaries, reflexive documentaries, etc., with a wide range of content and rich meanings. Guided by the creative consciousness of meta-cinema, " A Final Reunion " deconstructs and reshapes "A Reunion" by exposing the film's creative process and production mechanism. The textual features of intertextuality and reflexivity run through the creation of "The Reunions". As a hidden image structure, it continuously dialogues with the audience, actors, and text, showing a creative author expression. In addition, "The Reunions" also constructs a form of the intertwining of documentary and fictional images, and the symbiosis of life and video drama. The boundary between reality and fiction presents an amazing fluidity here.

First of all, this paper analyzes the record form of" The Reunions " from the perspective of film history, explores how it conducts genre experiments with the juxtaposition of documentary and fictional materials, and the creative use of actors. Also, there extracts two main characteristics of "The Reunions" - intertextuality and reflexivity- and discussed in depth these two characteristics. It explores its intertextual strategies from multiple dimensions such as narrative perspective, image symbols, and external texts, and analyzes how "The Reunions" achieves textual reflexivity through reflexive strategies from the multiple identities and functions of the camera, the audience, and the director in the image. "The Reunions" is an alternative family private video work.

 With the continuous development of new media technology, images have never been so closely surrounding human lives as they are now, and the future of image creation is also facing more and more variables and possibilities. The creative practice of "The Reunions" is not limited by grammar, not bound by stereotypes, and realizes the freedom of thought transmission through the author's expression, which has extraordinary pioneering significance in the current rapidly changing creative environment. The author hopes to give some inspiration to video creators through the in-depth exploration of "The Reunions".