论文部分内容阅读
拍《死亡地带》,严寄洲已近七十高龄。七十岁,似乎是和年迈力衰以及老态龙钟分不开,可他还骑着一辆“二八”自行车在厂里跑,依旧壮心不已的叹息着:“如果不搞那么多政治运动,我有可能拍三十多部片子。”《死亡地带》是他的第二十三部影片。他是自学成才的导演,也是半路出家的导演,他走的是由普通的部队文化战士到电影艺术家的道路。他是八一厂导演故事片最多的导演,也是作品常常引起争议的导演。和八一厂其它几位同时代的导演的电影作品相比较,严寄洲的影片呈现出比较纷繁复杂的状态。他塑造的银幕妇女形象,从五七年至今,常在影评界引起争议。严寄洲出生于一九一七年八月,江苏省常熟县人。自幼爱好美术、戏剧,一九三五年初中毕业,因家贫辍学。一九三八年奔赴延安,进入抗日军政大学学习,
Take “death zone”, strict state has nearly seventy senior. The seventy-year-old seems to be inseparable from the decaying and chronicling of old age. However, he still runs a factory on the “28” bicycle and still solemnly sighed: “If you do not engage in so many political campaigns, It is possible to shoot more than thirty films. ”“ Death Zone ”is his twenty-third film. He is a self-taught director, is also a half-way director, he is from the ordinary force of cultural soldiers to the film artist’s road. He is the director of Bayi Chang’s directorial feature films, director of the work is often controversial. Compared with the film works of several other directors of the same period in the Bayi Plant, the films by Yan Zhizhou show a more complex and complicated situation. The image of the female screenmaid he has created has always been controversial in the critics since 1957. Yan Chau was born in August 1917 in Changshu County, Jiangsu Province. Since childhood hobbies art, drama, graduated from junior high school in 1935, because of poor school dropout. Went to Yan’an in 1938, entered the Anti-Japanese Military and Political University to study,