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杨子的《喊·山》以一种近乎浪漫主义的方式,以峰回路转的情节,表现了具有现实主义意味的问题,如女性主义和拐卖幼童等。电影在展现现实的严酷与无奈的同时,又不忘展现人性的善意与温情,在给予观众苦情与伤感的同时,又不忘给观众以美好和希望。电影在完成叙事的同时,又因其构建的多重审美空间而具有不可低估的审美价值。文章从地理审美空间、社会审美空间、心理审美空间三方面,分析《喊·山》的审美空间。
Yang Zi’s “Shouting Hill” represented a realist issue in an almost romanticist manner, with plots turned around, such as feminism and the trafficking of young children. While showing the harshness and helplessness of reality, the movie does not forget to show the goodwill and warmth of human nature. While giving the audience plight and sadness, the movie never fails to give the audience the good and the hope. At the same time of completing the narration, the movie has the aesthetic value that can not be underestimated because of the multiple aesthetic spaces it constructs. The article analyzes the aesthetic space of “Shout · Mountain” from three aspects: geographic aesthetic space, social aesthetic space and psychological aesthetic space.