论文部分内容阅读
《人·鬼·情》描绘的是一位女演员在现实生活与演艺生活之中的情感经历。在该片中采用了套层结构,即戏中戏,就在这样一个结构当中。这个真实的女演员传记显露出许多非常丰富的东西,正好是现代女性所面临的一种艰难的困境。这种困境有两个双重标准,一个是要求男人和要求女人不一样;另一个是要求女人在社会上和男人一样,要努力做一个成功的人,同时还要求女人要是一个女人。《人·鬼·情》在这方面有非常丰富的感性呈现,这个故事本身是一个真实的传记所不能包括的对于现代生活性别困惑的表达。正是在这个意义上,黄蜀芹表达得非常贴切,电影拍得非常成功。黄蜀芹也因为成功执导《人·鬼·情》奠定了在导演界不可动摇的地位。黄蜀芹是1959年考取电影学院,1964年分配到上海电影制片厂。12年政治运动,“文革”中她作为“黑五类”和“5·16”分子受审查,1978年回上影厂。1978年至1979年给谢晋当了两年副导演,1980年后黄蜀芹开始独立制作,到现在拍了七部电影,
“Ghost · Emotions” depicts the emotional experience of an actress in real life and acting life. In the film using a layer structure, that is, the play in the theater, in such a structure. This real actress biography reveals a lot of very rich things, exactly the modern women are facing a difficult predicament. This dilemma has two double standards, one that requires men to be different from women and the other requires that women, like men in society, work hard to be successful people and also require women to be women. “Man, Ghost and Emotion” has a very rich sensibility in this respect. This story itself is an expression of the gender confusion of modern life that can not be covered by a true biography. It is in this sense that Huang Shuqin is very appropriate and the film is very successful. Huang Shuqin because of the successful director of “people · Ghost · Love” laid the unshakable position in the world of directors. Huang Sicheng was admitted to the Film Institute in 1959, 1964 assigned to Shanghai Film Studio. During the 12-year political campaign, she was scrutinized as the “Black Five Class” and “May 16” elements in the “Cultural Revolution” and returned to the studio in 1978. From 1978 to 1979, Xie Jin became deputy director for two years. After 1980, Huang Shuqin started to make an independent film and now she has taken seven films,