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看一九四九年前的中国电影,不难感觉到旧上海的脉搏,银幕上所见,从气派不凡的黄浦江到热闹繁华的南京路,从洋房大楼到里弄的亭子间,都已沉淀成为城市传奇的一部分。一九四九年后,上海的色彩迅速褪去,无论在文化或政治上,北京的气焰都盖过上海,然而,除了在石挥的《我这一辈子》(一九四九/五○)里外,它从来都没有在电影里担当过重要的角色。当然,八十年代的《城南旧事》、《骆驼祥子》,甚至《鼓书艺人》等说的都是北京的故事,但那都是当北京还是北平的时候,而且还要经过多重虚构和艺术加工的过滤,与现实生活中的北京有着很大的隔阂。及至九十年代初吴文光的纪录片《流浪北京》和宁瀛的故事片《找乐》等作品出现,北京这座城市才真真正正活过来,犹如在《睡公主》里那座沉睡了不知多少年的古堡,虽然披上了一层灰扑扑的尘网,却自有一份深厚的内在力量,在瞬息万变的处境里,同时透着绝望与生机。
It is not difficult to feel the pulse of the old Shanghai on the screen of a Chinese film before 1949. From the extraordinary Huangpu River to the bustling Nanjing Road and from the bungalows to the pavilions in Lane, all have become precipitous Part of the city legend. Since 1949, the color of Shanghai has rapidly faded away. Beijing’s arrogance has covered Shanghai either culturally or politically. However, in addition to the “my whole life” (1949/500) Outside, it never played an important role in the movie. Of course, the stories from the 1980’s, “Old City South,” “Camel Shoko,” and even “Drum artists” are all Beijing stories, but when Beijing was still Peking, it was still subject to multiple fiction and art Filtering processing, and real life in Beijing has a great gap. When Wu Wenguang’s documentary “Wandering Beijing” and Ning Ying’s feature film “Find Happiness” appeared in the early 1990’s, the city of Beijing just really came alive, as if sleeping in “Sleeping Princess”, I do not know, how many years Of the castle, though covered with a layer of gray dust net, but have a deep inner strength, in a rapidly changing situation, revealing both despair and vitality.