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我在上文已经谈到了,为什么根据人类学最基本的定义来分析,并非所有的影片都含神话意义。并非所有的影片都集中关注“克服矛盾”或“解决冲突”,并非所有的影片都希望我们不加思索地、颇有感情地去顺应人类生活的现状。许多影片都想指出同时又讴歌人类文明、人类社会、人类文化这座大厦底下蕴藏着的裂缝和断层。许多影片启发我们公开地向那些指导着我们生存的信念、道德和法规提出疑问。神话的本性是反动的,然而它在艺术上的有些尝试却是革命性的。象《现代启示录》(1979)这样的影片并不符合传统的神话,在分类上也不能算是类型影片,《空军》(1943)是一部类型影片。这两部
I have already talked about the above, why the analysis of the most basic definition of anthropology, not all of the films contain the mythological significance. Not all the films focus on “overcoming conflicts” or “settling conflicts.” Not all the films hope that we will follow the status quo of human life affectionately without thinking. Many films want to point out the cracks and faults that underlie the building that contains human civilization, human society and human culture. Many videos inspire us to question openly the beliefs, morals and laws that govern our survival. The nature of myth is reactionary, yet some of its artistic attempts are revolutionary. Videos such as Apocalypse Now (1979) do not fit traditional myths and are not classified as genre films. Air Force (1943) is a genre. These two