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在《孩子王》这部作品中,对民族文化的反思和批判是在从容而又冷静的叙述中完成的。这种平和中透射出来的批判锋芒产生了震颤人心的艺术效果。可以看得出,陈凯歌的这部作品保持了他的一贯特色:把形式(画面造型、色彩、音响等)纳入形象体系,与内容浑然一体。音响和音乐,就其形式而言,在相当多的电影作品中大都起点缀的作用。而在《孩》片中,它却产生了强烈的艺术效应。在这部几乎没有音乐的作品中,作者设计了一个不知作曲为何物却一门心思想当音乐教师的人物——来娣。那是一个几乎没有音乐的年代,人们听到的多半是歇斯底里的嘶吼,而所谓音乐,充其量不过是唐·吉诃德式的狂热情绪的病态发泄。来娣生活在那样一个时代环境中,无怪乎会有那样的想法。影片中来娣的那首音乐作品,对那个时代来说,它不但具有反讽的意义,还具有文化批判的深度。
In “Child King” this work, the reflection and criticism of national culture is completed in calm and calm narration. The critical edge that is transmitted through this peace produces the artistic effect of tremor. As can be seen, Chen Kaige’s work maintains his usual characteristics: the form (picture modeling, color, audio, etc.) into the image system, and content seamless. Acoustics and music, in their form, are mostly decorative in quite a few of their films. In the “child” film, it has had a strong artistic effect. In this work with almost no music, the author devised a man who did not know how to write music but who wanted to be a music teacher. It was a time when there was almost no music. Most people heard hysterical hysterons, and the so-called music was, at best, only a pathological exasperation of Don Quixote’s fanatical mood. To live in such an era environment, no wonder there will be such an idea. For that era, the piece of music that comes to the film is not only ironic, but also has the depth of cultural criticism.