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电影《刺客聂隐娘》于2015年8月在中国大陆上映,画面具有典型的东方美学特征,沿袭了侯孝贤擅用长镜头和慢节奏的拍摄风格,在怎样用影像的形式表达中国美学问题方面,具有探索意义;然而,影片情节交代少,台词少,大众普遍反映晦涩难懂。侯孝贤并非单纯地在拍一部武侠片,他力图真实地再现唐代安史之乱后藩镇割据的状况;影片的女主角聂隐娘没有同类,很孤独;整部影片的文化逻辑是复调的,导演因其想要去表达的主题太多而失去了艺术控制力;同时,面对大陆武侠片市场的繁盛,侯孝贤想要去拍一种能够体现台湾式审美的武侠片,却在资本的推动下造出了过于唯美的东西,失去了精神表现力。中国现在很多的导演在艺术的表现上,都有这种对当代性的不适应,以及从之前拍小众电影一下子转来拍商业片的不适应。
The film “Assassin Nie Yiniang” was released in mainland China in August 2015. The picture has typical oriental aesthetics characteristics. It follows Hou Hsiao-hsien’s long shot and slow-tempo style of photographing. In terms of how to express Chinese aesthetic problems in the form of images, Explore the significance; However, the film narrative less, less lines, the general public obscure. Hsiao Hsien-hsien is not merely filming a martial arts film. He strives to truly reproduce the conditions of the separation of the military and the provincial government after the Anhua Rebellion in the Tang Dynasty. Nie Yinniang, the heroine of the film, is not of the same kind and lonely. The cultural logic of the film is polyphonic. At the same time, in the face of the prosperous mainland martial arts market, Hou Hsiao-hsien wants to make a kind of martial arts film that can reflect the aesthetic taste of Taiwan, but it is made under the impetus of capital Too beautiful things, lost the spirit of expression. Many directors in China now have this incompatibility with the modernity in terms of their artistic performance, and they have not adapted themselves to making commercial films from a time when they were making small-scale movies.