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九十年代电影给人的感觉是它找不到感觉。在舶来和国产的大片所制造的表面繁华下面掩盖着电影艺术作品思想内容的贫乏与艺术品格的滑坡。这种情况,首先和转型时期的人文境况有关系。概而言之,在伟大叙事瓦解之后,电影语言失去了它的元语言。如果我们粗略地把中国电影史划分为几个阶段:三四十年代、建国后到文革结束、八十年代,我们发现每一阶段都有它自己的主题,比如说三四十年代电影抓住了个性解放与民族解放的主题,产生了像《塞上风云》、《渔光曲》、《一江春水向东流》这样的优秀作品;而第二个阶段抓住的是革命英雄主义的主题,包括《英雄儿女》、《青春之歌》、《渡江侦察记》、《野火春风斗古
The nineties movie gives the feeling that it can not find the feeling. The bustling surface created by the shipments of imported and domestic films undermines the poor intellectual content of the cinematic work of art and the decline of artistic character. This situation, first of all, is related to the humanistic situation in the transitional period. In short, after the collapse of the great narrative, movie language has lost its metaphysical language. If we roughly divide the history of Chinese film into several stages: from the 1940s to the 1940s, from the end of the Cultural Revolution to the end of the Cultural Revolution, in the 1980s, we found that each stage had its own theme. For example, in the 1940s and 1940s, The theme of liberation of personality and national liberation has produced such outstanding works as “Winning the Storm,” “Fishing Tragedies,” and “Flowing Eastward through a Spring River.” In the second phase, revolutionary heroism Topics include “Heroes and Children,” “Song of Youth,” “Cross-River Reconnaissance”, "