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斯科塞斯超越自我、超越了他自己高超的电影技法,以此检验电影自身的界限。他的非凡创造力和努力意味着,《沉默》已经无法简单地用好或坏这样的字眼加以衡量。马丁·斯科塞斯的新作《沉默》开头呈现了一个极其恐怖的场景:1633年,日本基督徒们遭受肉体折磨、残酷刑罚或被处死:场景伴随着深沉的画外音,连姆·尼森饰演的葡萄牙传教士费雷拉在日本目睹了许多类似的骇人听闻的事件。在斯科塞斯的许多影片中,痛苦是衡量真理的绳尺:而痛苦的本质与真理概
Scorsese beyond the self, beyond his own superb film techniques, in order to test the film’s own boundaries. His extraordinary creativity and hard work mean that “silence” can no longer be measured simply by words like good or bad. Martin Scorsese’s new book, Silence, begins with an extremely horrifying scene: In 1633, Japanese Christians were subjected to physical torture, cruel punishment, or executed: the scene was accompanied by a deep voiceover and even Lyme Nissen played The Portuguese missionary Ferreira witnessed many similar horrifying events in Japan. In many films of Scorsese, pain is the measure of truth: the nature of pain and the truth