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在早些年,我们所能阅读的文学作品中,少年是一个温情脉脉的代名词,少了成人社会里的无奈和现实,要么是好好学习天天向上,要么是田野里的欢声笑语,总之,这是个象水晶一样纯洁的回忆。就在我这一代人还保持这种感觉时,日本电影导演大岛渚已经拍完了他那部《青春残酷物语》,过多几年,当我开始自由思考自己问题时,姜文也完成了他那部《阳光灿烂的日子》,少年们用砖块拍在别人后脑勺上、早恋、偷窃,这些片段那么唐突,却是无可置疑的真实。
In earlier years, among the literary works we can read, the juvenile is synonymous with tender sentiments, less helpless and real in the adult society, either to study day by day or to laughter in the fields. In short, this is a Like pure crystal memories. Just as my generation still maintains this feeling, Japanese film director Oshima has finished filming his “youth brutality” for years. When I started to think freely about her own problems, Jiang Wen also completed his That “sunny day”, young people use the brick in the back of someone else’s head, puppy love, theft, these fragments so abrupt, but it is beyond doubt that the truth.