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在讨论昆廷·塔伦蒂诺的作品时,被使用最多的一个关键词就是“暴力美学”。还有的介绍文章居然将“暴力美学创始人”的头衔戴到昆廷这个电影界的“坏孩子”头上。其实,就美国电影而论,以下几部作品可以用来描述暴力美学发展的轨迹:1967年由阿瑟·佩恩导演的《邦尼和克莱德》,1969年萨姆·佩金·帕导演的《野蛮的一伙》,1971年由斯坦利·库布里克导演的《发条橘子》,1976年由马丁·斯科西思导演的《出租车司机》。但是如果论及对“坏孩子”昆廷的影响,如果论及暴力美学作为一种具有电影史意义的风格形态的成型和完全发展,则应将焦点聚集到香港的电影人和创作。
One of the most frequently used keywords in discussing Quentin Tarantino's work is “Violence Aesthetics.” And some introductory articles actually put the title of “founder of violent aesthetics” on the head of “Bad Boy” in Quentin's film industry. In fact, in terms of American movies, the following works can be used to describe the trajectory of the development of violent aesthetics: “Bonnie and Clyde” directed by Arthur Payne in 1967, Sam Pekinpa in 1969 Director of the “barbarian gang” in 1971 by Stanley Kubrick directed the “clockwork orange” in 1976 by Martin Scorsese's “taxi driver.” However, if we talk about the impact on the “bad boy” Quentin, if we consider the formation and complete development of violent aesthetics as a cinematic historical style, we should focus on filmmakers and creations in Hong Kong.