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1937年,联华公司的集锦片《艺海风光》公映。其中贺孟斧执导的《话剧团》突破了当时电影创作中的情节剧框架,大胆地将人物的心理幻觉作为电影的表现对象,以人物的内在心理处境映照其所处现实环境。这种压缩外部叙事空间而着力开拓人物心理空间的表现手法在当时整个中国电影创作的大环境下显示出一种特立独行的探索勇气,预示着中国电影发展的某种多元化可能。
In 1937, UMC’s collection of “Art Sea scenery” released. He Meng’s “Repertory Theater” broke through the framework of the melodramas in the filmmaking at that time, boldly took the psychological hallucinations of the characters as the performance objects of the movie, reflected the inner environment of the characters in the realistic environment. This way of compressing the external narrative space and exerting its utmost efforts on exploiting the psychological space of the characters showed a kind of maverick exploration courage in the context of the entire Chinese film creation at the time and heralded the possibility of some diversification in the development of Chinese films.