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《大决战》前两部由于主要场景中戏的密度过大,或多或少地削弱了观众的观赏耐心。而《平津战役》在有效略去许多无关宏旨似曾相识的画面的同时,浓缩篇幅,加快节奏,侧重了设置和排除悬念的戏剧冲突,侧重了描述心理的人物性格冲突,描画出了人物面临命运抉择的心路历程。这一点,从傅作义具有多重性格的塑造中,可窥见一斑。傅作义的多重性格,源于这个人物所处的特定历史环境。因为影片所要描绘的艺术形象是由人物和环境这两个条件决定的。傅作义的外部环境是:蒋介石经过辽沈、淮海两大战役的溃败,元气大伤,回天无力,不得不将最后一注押在他身上,却并不信任他。而他的内部环境是自己既为国民党重臣,值此关键时刻,理应义无反顾地尽忠效力;但作为一名正直的中国人,又不愿意为那个腐败没落的王朝殉葬,成为历史的千古罪人。所以,他空想建立华北联合政府。正如毛泽东所说:“百万大军堵在门口,还来谈什么二一
The first two in the “Great Decisive Battle” have weakened audience’s viewing patience more or less due to the density of the scenes in the main scenes being too large. While the “Ping-Jin Campaign” has effectively omitted many unrelated and impersonal images, it concentrated its space and accelerated the pace of the drama. It focused on the drama conflicts that set and eliminate the suspense, and focused on the psychic characters’ character conflicts. They depicted the characters facing destiny choices Mental history. This point, from Fu Zuoyi with multiple personality shapes, you can glimpse. Fu Zuoyi’s multiple character stems from the specific historical environment in which the character is situated. Because the film is to portray the artistic image of the characters and the environment of these two conditions. Fu Zuoyi’s external environment is: Chiang Kai-shek after the Liao-Shen, Huai-Hai battle of defeat, vitality, back to powerlessness, had the last bet on him, but did not trust him. And his internal environment is that he is both an important minister of the Kuomintang. At this crucial moment, he should have no hesitation in loyally serving him. However, as an honest Chinese, he is reluctant to sacrifice for the decadent dynasty and become the eternal sinner of history. Therefore, he imagined establishing a coalition government in North China. As Mao Tse-tung said: “Millions of troops are blocking the door and talking about what two one.”