一“80后”作家的创作往往表现出极强的画面感,像蒋峰的小说《维以不永伤》运用的“并行蒙太奇”写作方法,郭敬明小说中类似日本动漫的唯美画面,我们不得不说这些写法都是受到了后现代主义叙事和视像美学的影响。同样,颜歌的长篇小说《段逸兴的一家》中的叙事方法也表现出十分电影化的一面,这种电影式的写作不是表现在由语言文字构建的画面唯美上,而是表现在对小说时间和空间的把握和切换上。具体地说,颜歌的小说运用了类似于电影中的蒙太奇剪接手 After the creation of “80s”, writers often show a very strong sense of the picture. Like Jiang Feng’s novels, “Victoria does not hurt forever,” “parallel montage” writing methods, similar to the Japanese anime in Guo Jingming’s novels As for the pictures, we have to say that these wordings are influenced by postmodernist narratives and visual aesthetics. Similarly, Yan Ge’s novel The Story of Duan Yi Hing also shows a very cinematic side. This cinematic style of writing is not manifested in the aesthetics of the screen constructed by the language, but in the novel’s time And space to grasp and switch on. Specifically, Yange’s novels use a montage clip similar to that in movies