论文部分内容阅读
5.当代的好莱坞电影无论从广度还是从深度上讲,都超过了以(?)何时代的好莱坞。如果说科幻片和越战电影确乎为当代美国(?)的两条主流的话,那么其他种类的电影,如以《克莱默夫妇》(?)80)、《金色池塘》(1981)、《母女情深》(1983)等影片为(?)的家庭伦理片,以《翌日》(1983)《遗嘱》(1983)为(?)的核灾难幻想片,以及以《宝贝儿》(1982)、《喜剧之王》(?)983)等影片为代表的新兴喜剧片等各类非主流电影,同样从各(?)不同的角度反映了当代美国人的精神意识以及他们正在遭遇和(?)的种种问题。从某种程度上说,这些紧贴当代的非主流电影甚(?)能唤起人们的现实感而越来越受到创作者和观众的共同注目。《克莱默夫妇》、《金色池塘》和《母女情深》这三部同类型(?)片相继获得奥斯卡奖,这本身就是一件很有意味的事情。《克(?)夫妇》表现的是一个极其普通的美国家庭的破裂,而这种破裂(?)破裂的方式在当前美国是带有普遍性的。达斯廷·霍夫曼和梅丽
5. Contemporary Hollywood movies outnumber Hollywood in terms of breadth and depth. If science fiction films and Vietnam movies are indeed the two main streams of contemporary America, other types of films such as The Kramer (?) 80, The Golden Pond (1981) (1982), “Family Wife” (1983), “Family Belief” (?), The Nuclear Disaster of the Day (1983) “Will” (1983) , “The King of Comedy” (?) 983) and other emerging non-mainstream films such as the film, also reflect the spiritual awareness of contemporary Americans and their experience with (?) From different perspectives. ) All kinds of problems. To some extent, these non-mainstream contemporary films (?) Can arouse people’s reality more and more by creators and audiences. The three Oscar-winning films of the same type, “Kramer,” “The Golden Pond,” and “Mother and Daughter,” are in itself a very interesting one. The “couple” shows the rupture of an extremely ordinary American family, and the way this rupture breaks down is universally present in the United States. Dustin Hoffman and Meryl