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1975年,史蜀君进入上海电影制片厂。1983年她独立拍摄处女作《女大学生宿舍》,把镜头对准了一群血肉丰满的青少年大学生,展示他们的喜怒哀乐、对生活的信念和对人生的思考。《女大学生宿舍》获得成功后,史蜀君继续拍摄她的“青春三部曲”中的后两部:《失踪的女中学生》与《夏日的期待》。这两部影片都采取了散文式的结构与白描的手法,其清纯而唯美的艺术风格再现了真实的生活画面,获得无数家长、教师和青少年们的理解和喜爱。1989年,她完成了影片《庭院深深》,这部上下两集的影片是青春片的延续。史蜀君以成熟女性的意识,展示了一段“爱其所爱,又不得其爱”的人生境遇。之后,她又拍摄了《燃烧的婚纱》、《女大学生之死》等现实题材影片,以唯美的艺术风格生动地诠释了女性细腻、微妙的内心变化,深受广大观众喜爱。正如史蜀君所说的,“我一直觉得青春题材的片子都应该拍得美一些,因为年轻就是美,青春就是美,任何年龄段都没有这个阶段那样勃发生机,那样的和大自然融为一体。不仅是在青春片里,我的唯美倾向在我所有的影片里都有所表现。”正是这样一种对美的追求,让史蜀君在中国女导演中独树一帜。
In 1975, Shushang entered Shanghai Film Studio. In 1983, she independently shot the debut “Female Students Dormitory”, the camera at a group of fleshy and juvenile college students, showing their emotions, beliefs and life on life thinking. After the success of “Female Dormitory,” Shushu continued to photograph the last two of her “Youth Trilogy”: “Missing Female Middle School Students” and “Expectations of Summer.” Both of these films have adopted the structure of the prose style and the technique of white drawing. The pure and beautiful artistic style reproduces the real life picture and gains the understanding and love of countless parents, teachers and young people. In 1989, she completed the movie “Deep in the Courtyard,” a film of two films from the top and the bottom of the film. Shi Shujun to mature women’s awareness, demonstrated a period of “love their loved ones, but not their love,” the life situation. After that, she filmed real-life films such as “Burning Wedding Dress” and “The Death of a Female University Student”, vividly interpreting the delicate and delicate inner changes of women in an aesthetically pleasing artistic style, which is deeply loved by the audience. As Shi Shujun said, “I always felt that the theme of youth should be made more beautiful films, because youth is the United States, youth is the United States, at any age there is no such stage at this stage of vitality, so integrated with nature Not only in youth, my aesthetic tendencies are reflected in all my films. ”It is such a pursuit of beauty that made Shushu unique among Chinese female directors.