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少数民族身份和少数民族女性的视角,是吴娜切入中国当代电影的两个独特之处,前者使其将关注的目光自然地投向偏远而美丽的侗族山寨,将故事的叙述放置在当下传统与现代文明剧烈碰撞的漩涡中;后者则使其更多地关注女性在生活剧变时代的命运,以偏远苗乡美轮美奂的画面为背景,以女性主体为主题,以女性主体的角度叙述了青春的爱情故事,从而塑造了美丽动人的活泼女性形象,表达了少数民族女性成长与独立的精神追求。
Ethnic minority identity and ethnic minority women’s perspective is the uniqueness of Wu Na’s entry into contemporary Chinese films. The former makes her eyes cast her eyes on the remote and beautiful Dong Shanzhai naturally, placing the narrative of the story in the traditional and contemporary Modern civilization in the whirlpool of violent collision; the latter makes it pay more attention to the fate of women in the era of dramatic life, with the beautiful scene of the remote Miao country as the background, the main theme of the female, narrative from the perspective of the female subject Youthful love story, thus creating a beautiful and lively and vivid female image, expressing the spiritual pursuit of minority women’s growth and independence.