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传记电影作为“大传记”概念里一个新兴的类型,在传记研究中越来越受到广泛的关注,尤其随着传记电影在世界范围内掀起新的小高潮,相关评论和研究日益显示出不凡的影响力。2012年上映的传记电影《汉娜·阿伦特》达到了传记片中少有的深度和高度。本文从影片中选取三个主题——黑暗的沉重、思考的力量、爱与美的存在,讨论影片想要表达的思想——阿伦特何以成为阿伦特,一个被称为“20世纪思想的十字路口”的人物。毋庸置疑,这是影片成功之处。不过,为了突显孤独的思想者之路,影片过分强调孤独、黑暗等沉重的色彩,显得传主的生活压抑、枯燥甚至有些失真。这也是传记电影将语言符号转化为影像符号过程中面临的一个问题。此外,对于影片中几处不符合阿伦特生平的事件提出质疑。
As an emerging genre in the concept of biographies, biographical cinema has drawn more and more attention in the field of biographical studies. With the development of biographical cinemas worldwide, a new upsurge of biographical cinema has emerged and the related comments and researches have become more and more remarkable Influence. The 2012 biopic movie “Hannah Arendt” has reached a depth and height rarely seen in biographies. This thesis chooses three themes from the film, the heavyness of darkness, the power of thinking, the existence of love and beauty, the ideas that the film wants to express - why Arendt became an Arendt and the one called the 20th Century Thought Crossroads "character. Undoubtedly, this is the film’s success. However, in order to highlight the lonely thinkers road, the film overemphasizes the heavy colors of loneliness and darkness, making the life of the Lord despised, boring and even distorted. This is also a problem faced by biographical cinema in transforming linguistic symbols into visual symbols. In addition, the film for several do not meet the Arendt life events questioned.