令人振奋,如梦如幻且又淋漓畅快的《红高粱》获得号称世界电影三大奖之一『金熊奖』。这在中国电影史上是史无前例的,评论随之奇峰突起。姑且不去管是『售国人之陋以邀夷人之赏的可恨之作』,还是『以十九世纪德国尼采为代表的非理性主义思潮影响而萌生的神论式的嬗变』,在此,我想谈一下其把表现与再现两大派别高度融汇的创作方法,这是能得奖的一个重要因素。当今中国影坛有一股从主体出发来驱导、创造客体,以抒情带动叙事,在再现的基础上融汇表现的创作方法,情节似乎已不再那么重要,重要的是深入刻 Exciting, dreamy and dripping Merry “Red Sorghum” won one of the world’s three films known as the Golden Bear Award. This is an unprecedented phenomenon in the history of Chinese cinema, with the accompanying Qifengs. Let us not negate the “hateful work of selling the humble natives as a solicitor” or the “evolvement of theistic” based on the irrational ideological trend represented by Nietzsche in Germany in the 19th century. I would like to talk about its creative method of combining the two major factions of representation and reproduction. This is an important factor in winning prizes. In today’s Chinese cinema there is a creative method of dominating, creating objects, moving narratives lyrically, and integrating performance on the basis of reproduction. The plot seems to be no longer important,