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李少红新片《恋爱中的宝贝》甫一公映,立时引起很大争议,喜者恶者,各执一词。这部电影的神经质,剪辑的跳跃式和快到晕眩的节奏感,可以说是国产电影里的异端,对于普遍缺乏这样观影经历的人来说,实在是对耐心和理解力的挑战。毋庸置疑,影片里所充斥的断裂的情节、暧昧的象征、含混不清的人物性格给观赏者设置了一道一道的阻碍。在这层峦叠嶂的构制中,任何自以为是的解析或者简单化的批评都在事实上进入了创作者精心设置的陷阱。如同在事先的宣传中,李少红曾经踌躇满志地对媒体表明的,这实际上是个带有导演强烈预期的影片,是个“突破自我”的探索电影。它的意蕴是多层次、立体化的,就像一块晶体,在不同角度
Li Shaohong’s new movie “The Baby in Love” was released immediately, causing immediate controversy. The film’s neurotic, clip-jumping and dizzying tempo can be described as heresies in domestic movies and challenge the patience and comprehension of those who are generally lacking in such viewing experience. Needless to say, the plots, the ambiguous symbols and the ambiguous characters in the film are all obstacles to the viewer. In this framework of mountainous peaks and valleys, any self-righteous parsing or simplistic criticism has in fact entered the trap carefully set by the creator. As in the prior publicity, Li Shaohong once demonstrated with great smugness to the media that this is actually a film with the director’s strong expectations and a “breakthrough self” exploration movie. Its meaning is multi-level, three-dimensional, like a crystal, at different angles