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影片写情,就要写人。而创造个性鲜明的典型人物,又是写好人与情的核心。影片《红牡丹》正是抓住了这一核心,所以在塑造人物方面很有特色:它既有主人公王莲(即红牡丹)的悲惨遭遇的描写,又有反派角色皇甫义富有新意的刻画;同时还塑造了其他一些鲜明感人的艺人形象. 影片所描写的时间,从一九三○年到一九四○年;影片所涉及的空间,从冀鲁平原的运河,到风景秀丽的杭州,及至灯红酒绿的香港。时空的跨度比较大,然而编导把这一切都围绕着主人公王莲的命运遭遇来写,并通过王莲的悲惨遭遇,以一幅幅感情色彩浓烈的人生图画,突显了王莲的鲜明性格。你看,她在街上看到行乞的众儿哭求的惨景,便动了恻隐之情,冒险摆地摊,为穷苦儿童募集救济金.在杭州六和塔下,她听到爱国志士宣传“国难当头,匹夫有责”,便在心底埋
Film write love, we must write. And to create a distinctive character, but also write the core of man and love. The film “Red Peony” seized this core precisely, so it is very characteristic in shaping figures: it has both the depiction of the tragic experience of the protagonist Wang Lin (ie, the red peony) and the new character of the villain Huangfuyi ; At the same time, it also created some other vivid and touching images of the artist. The film described the time from 1930 to 1940; the space covered by the film, from the canals of the Hebei Plain to the scenic Hangzhou , To the glittering Hong Kong. The spans of time and space are relatively large. However, the director writes all this around the fate of Wang Lin, the protagonist, and through the tragic experiences of Wang Lin, highlights the vivid character of Wang Lin with an intense picture of life. You see, she saw in the street the beggars crying for the tragedies, they move the implicit feelings, adventure stalls, raise funds for poor children in Hangzhou, under the tower and she heard patriotic propaganda “ Catastrophe take the lead, every man has the responsibility, ”buried in my heart