Chinese title: 最抽象的段落

The video fictionalizes a private dialogue between two writers in the “fallen areas” during the 1940s in China. However, their topic is not limited to the 40s (around the time when the Speech at the Forum of Art and Literature in Yan’an took place), but also connects to the self-criticism within the left-wing literary community, as well as the internal discussion anxiety that has long existed since the Enlightenment in the 80s. The two writers, played by “actors,” are scornful of the old literary style of the “Mandarin Ducks and Butterflies” school, but are incapable of entering into a specific position of the new “Yan’an” period. As soon as a definition is clarified, they turn back to fix its carved-in-stone and rigid texture. Intermittently, they satirize or console each other. To Li Ran, this illustrates the experience where "we talk with our mind filled with hesitation, where the intense context of this dialogue keeps circling internally, unable to be expressed, with barriers abound". This contradiction does not simply represent a binary opposition between globalist and localist experience, but rather, the universal circumstance of creators’ individual experiences within the context of historical norms.

剧中虚构了一段40年代“沦陷区”两位作者的私密交流，但其中涉及的话题语境并非仅仅静止在中国40年代（延安文艺座谈会前后），也同时联动着解放后左翼文学界内部的自我批评，以及80年代新启蒙思潮时期，某种长久伴随至今的内部讨论焦虑症。两位“演员”所扮演的作者，对“鸳鸯蝴蝶派”旧时文风嗤之以鼻，但又无法进入“延安”新时期的左翼立场。对话中的一方一旦占据明确定义时，又怀疑和修正这种铁板钉钉的生硬态度，他们有时三言二语的相互讽刺，然则又相互安慰取暖。在李然看来，这便是我们今天在对话中踌躇无措的现场。而这焦灼的对话语境总在内部打转，无从表达，壁垒重重，这种矛盾并非单纯的全球主义与地方经验的二元对立，而是创作者的个体经验在历史常态语境下的普遍遭遇。