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以战争为母题的电影不外乎两种类型:一种是线性地展示战争的进程,以及对历史、对人和战争的本质再现;另一种是征战争进程的背景下,对人生存状态的描摹。《对岸的战争》关注更多的是人对战争的态度和生命体证的呈现。导演李欣充分运用浪漫的语境,通过一个孩子的视角,勾勒出北岸战火纷飞和南岸太平世界两种不同的景象,把握了一个孩子从新奇到恐惧、从恐惧到坚定的心理变化。望远镜里的主观镜头、孩于梦中的士兵舞蹈、开枪后鱼从天上掉下、所有人物征雪中的画面定格……透露出人类面对灾难时的积极想象。李欣说,这是在悲情中想象幸福。
There are no more than two types of movies based on the war: one is a linear display of the progress of the war, the reproduction of the essence of history, of the people and the war, and the other is about the survival of people in the context of the war process State of the tracing. The “war on the other side” is more concerned with the attitude of people to war and the presentation of life evidence. Director Li Xin makes full use of the romantic context, through a child’s perspective, sketches two different scenes of the North Sea war and the South Pacific Peace World, grasps a child from novelty to fear, from fear to firm psychological change. The subjective lens in the telescope, the child in the dream dancers, after the fish fell from the sky after the shooting, all the characters in the snow freeze frame ... revealed a positive human face disaster. Li Xin said that this is imagined happiness in the tragedy.