对新宝莱坞歌舞的几点思考

• 作 者: 姜申
• 出 处: 电影新作
• 发表日期: 2004年04期
• 关键词: 当代印度 复兴之路 镜头调度 阿育王 后现代 心灵创伤 威尼斯电影节 叙事结构 最佳外语片 拼贴

近几年,以歌舞为特色的印度影片可谓风光一时,人们觉得宝莱坞电影好象在一夜之间改变了初衷,焕然一新。《阿育王》(ASOKA)、《季风婚宴》(MONSOONWEDDING)《拉嘎安》(LAGAAN)等一批精彩的电影作品不断地将世界的目光引向印度这个神秘的电影王国。其实,当代印度电影的一鸣惊人也是有一个发展过程的。90年代中期以后,面对国内外电影退潮的压力,宝莱坞掀起了一场以歌舞改革为先导的新宝莱坞运动,走出了一条以新技术、新思路为依托和指导的低产量、低成本、出精品的民族电影复兴之路。显然,宝莱坞电影歌舞是研究当代印度电影的一个绝佳的窗口。

In recent years, the Indian film featuring song and dance can be described as a moment, people think Bollywood movies seem to change their mind overnight, a new look. ASOKA, MONSOONWEDDING and LAGAAN continue to bring the world’s attention to India’s mysterious film kingdom. In fact, the blockbuster contemporary Indian film is also a development process. After the mid-1990s, in the face of the pressure of ebb and flow at home and abroad, Bollywood set off a new Bollywood movement with song and dance reformation as the guide and stepped out of a low-output, high- Low-cost, a boutique revival of the national film road. Obviously Bollywood movie and dance is an excellent window to study contemporary Indian cinema.