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1970年代中后期,作为美国特定类型电影的西部片数量锐减,似乎正在走向自己的末路。不过,西部片因为其“神话”特质,有着强大的自我修复能力,在“各领风骚三五月”的影坛中,每隔一段时间,就会有佳片问世。1976年,唐·希格尔(Don Siegel)奉献了他的《英雄本色》(The Shootist,直译为《神枪手》),再一次挽回了西部片的颓势,只不过这是一部反类型片,里面融入了更多关于美国文化冲突的思考。
The mid-to-late 1970s saw a sharp decline in the number of western films of a particular type in the United States and seemed to be moving towards its own end. However, because of its “myth ” traits, Westerns have a strong self-healing ability. From time to time, there will be good films coming out. In 1976, Don Siegel devoted his “The Shootist,” once again to a reversal of the westerns of the West, except that it was an anti-type film, Which incorporates more thinking about the cultural conflict in the United States.