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张艾嘉执导的《20·30·40》很容易让人联想起伊朗女导演玛芝娜·马殊姬尼的《女人三部曲》。同样是撷取了三个不同年龄阶段的女人生活,同样是女导演掌镜。只不过这部片子没有女权色彩,也无关乎女性生命主体的生存权、独立人格尊严这样的严肃话题。这是一部关于情感的影片,一部从女性视角出发探寻现代爱情故事的影片,一部关心现代都市不同年龄层次的女性生活状况的影片,一部充满了女性气质的影片。它撷取了都市女性群落最具代表性的三个年龄阶段:青春娇俏的二十岁女人、妩媚浪漫的三十岁女人和成熟自持的四十岁女人。影片在机场拉开帷幕,以移动的时间轴和变换的空间引出三位女主角。摇摆的镜头一开始就为故事蒙上了一层扑朔迷离的色彩,而机场里穿梭往来
The “30 · 40 · 40” directed by Zhang Aijia is an easy reminder of the “Woman Trilogy” of Iranian female director Majinah al-Masjini. The same is captured three different stages of life of women, the same director of the palm mirror. Only this film does not have the feminist color, nor is it related to the subject of women’s right to life, independent human dignity such a serious topic. This is a film about emotions, a film exploring modern love stories from a female perspective, a video about the living conditions of women of different ages in modern cities, and a film full of femininity. It captures the three most representative stages of the urban female community: the juvenile 20-year-old woman, the charming romantic 30-year-old woman and the mature self-sustaining 40-year-old woman. The film kicked off at the airport to move the timeline and transform the space leads to the three actress. Swinging from the beginning of the story for the story cast a confusing color, and the shuttle in the airport