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一九九二年三月,北京师范大学中文系的三名研究生走进了海军机关大院西南角海政电视剧制作中心的那幢破旧的平房,他们是专程前来访问、探寻和研究海政电视剧制作中心这个虽然年轻,但成立以来佳作迭出、年年拿奖、已在中国影视界享有盛誉的艺术群体的。时隔不久,当我在一次研讨会上读到这三篇角度不同、洋洋万言的研究论文时,作为一位部队文艺批评工作者,我不禁感慨万端:一个部队文艺群体而如此成就斐然、世人瞩目!据我所知在“文革”前十七年中只有以冯牧、徐怀中、彭荆风等为代表的西南部队作家群和以《霓虹灯下的哨兵》、《东进序曲》等为代表作的南京部队话剧艺术群体,新时期以来则可谓绝无仅有。我也曾
In March 1992, three postgraduates from the Chinese Department of Beijing Normal University went into the dilapidated bungalow in the production center of the Hainan Government TV drama at the southwestern corner of the Navy’s compound. They made a special trip to visit and explore the sea administration Although this is a young TV drama production center, it has won awards since its establishment and has enjoyed an excellent reputation among the film and television industry in China. Soon after I read these three articles in a seminar with different perspectives and with thousands of words of myriad research echoes, as a military literature and art critic, I can not help feeling the slightest feeling: so successful in a military literary group, As far as I know, in the first seventeen years of the Cultural Revolution, there were only a group of writers of the Southwest forces represented by Feng Mu, Xu Huai-zhong, Peng Jing-feng, etc. and representatives of “Sentinels under the Neon Lights,” “Eastward Preludes,” etc. Nanjing army drama arts groups, since the new era can be described as unique. I have too