论文部分内容阅读
现实主义的新典范正当我们为中国电影哀其不幸、怒其不争,在世界电影之林中处于万马齐鸣、被冷落被边缘化时,《一九四二》犹如一缕春风吹散了阴霾,似一声春雷带来了希冀、憧憬,给中国电影涂上春天的暖色,明媚的阳光。这春风、这阳光就是现实主义的道路。近些年来,真实反映生活,从生活中锤炼有哲理思想火花的电影越来越少。随着经济的大发展,电影人却走上了浮躁、无序的创作道路。娱乐片充斥银幕;“戏说”片把历史践踏成妓女;现实生活描绘得一片莺歌燕舞、升平世界。从上到下飘飘然,仿佛我国已经变成天上仙界,中国人从未有过深重的苦难,失忆
As a new paradigm of realism, just as we mourned its misfortune and anger against Chinese film, when it was in the midst of a world-famous film and was neglected and marginalized, “1942” was like a ray of spring wind blowing away the haze. Spring Thunder seems to have brought hope, longing for the Chinese film coated with warm spring, bright sunshine. This spring breeze, this sunshine is the realist road. In recent years, there have been fewer and fewer films that truly reflect life and have a spark of philosophical thinking from life. With the great economic development, moviegoers embarked on the path of impetuous and disorderly creation. Entertainment films full of screen; “Jedi ” piece trampled history into prostitutes; real life depicted a Yinggeyan dance, leveling the world. From top to bottom, as if our country has become the realm of heaven, the Chinese have never had any serious suffering, amnesia