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《京都纪事》吵吵闹闹开场,温情脉脉结束了。相比前四十集招来的满城非议的热闹,它的结果显得默默无闻。原因固然很多,比如结局过于迁就人们的欣赏程式而落入大团圆的窠臼,但编导策略无疑是值得深究的直接原因。编导恐怕极欲造就一种“轰动效应”,洋洋长篇和纪事的史诗气派让人未睹先叹,可惜终究缺乏大家手笔,把京都之事,纪成男女之间斩不断理还乱的家事情事。添上几辆豪华轿车,摇晃几个高楼的镜头,弄个气象万千的开发区来仍无济于事。于是,“女权”这一时髦的主义便被借来制造轰动。剧中女人个个咄咄逼人,雅兰雅玫更无一点书香子弟的端庄秀慧,动辄唇枪舌剑、离
“Kyoto Chronicle” noisy opening, the tenderness of the end. Compared to the previous forty sets of criticisms of the city attracted the excitement, it appears obscure. Although the reasons are many, such as the outcome is too accommodating to people’s appreciation program and fall into the trap of a happy reunion, but the director of strategy is undoubtedly the direct cause worth studying. Director I am afraid extremely want to create a “sensational effect”, the essay style and epic epic no one can see the sigh, but after all, lack of writing, the matter of Kyoto, cut between men and women cut unreasonable family things thing. Adding a few limousines, shaking a few high-rise shots, get a meteoric development zone to come to naught. Thus, the “feminist” trendy doctrine was borrowed to create a sensation. The drama all the women are aggressive, Arran Ya Mei no more books Hong son showily, often at every turn,