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“第六代”导演是20世纪90年代的一道文化风景线,他们是在中国文化最为开放和多元的背景下成长起来的,因此身上有着更加鲜明的革新意识和创造精神。王全安既是第六代导演的代表之一,又是他们中的另类。他排斥虚无缥缈的幻想、排斥神话故事、排除纯粹的抽象与雕饰,企望真实地呈现社会生存的本真样态。从《月蚀》到《惊蛰》到《图雅的婚事》再到《白鹿原》,王全安的电影已经形成一种特点,既有一般艺
“Sixth Generation ” Director is a cultural landscape in the 1990s, they grew up in the most open and diverse Chinese culture, so they have a more distinct sense of innovation and creativity. Wang Quanan is both one of the representatives of the sixth generation of directors, but also one of them. He rejects illusory fantasies, excludes myths, excludes pure abstraction and carving, and hopes to truly present the true state of social existence. From “Eclipses” to “Jingzhe” to “Tuya’s Marriage” and then to “Bai Lu Yuan”, Wang Quan’an’s films have formed a characteristic that both general art