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丁荫楠:我今天来,只是想漫谈一下,随便聊聊,对这部影片做一些总结,可以是更理论化的,这样为我们下部片子提供一点思索。我认为,理论对创作无疑是有影响的。《电影人》是我完成第二次创作心理转变的作品,《逆光》是我从戏剧电影走向纪实电影的标志,而《孙中山》企图走向人物心理,但由于历史、政治的局限,不能彻底完成,《电影人》做到了这一点,并且是从实到虚,从影片中就能看到这转变的过程。胡克:这部影片是中国第一部关于电影的电
Ding Yinan: Today I came, just want to talk about, casually chatting, to make some summary of this film, can be more theorized, so as to provide some ideas for our lower film. I think that theory undoubtedly has an impact on the creation. “Movie Man” is my second creative psychological transformation works, “Backlight” is a symbol of my move from theatrical movie to the documentary film, and “Sun Yat-sen” attempts to move towards character psychology, but due to historical and political limitations, can not be completely completed This is what Filmmakers do, and from the reality to the imaginary, the process of change can be seen from the film. Hooker: This film is China’s first movie about electricity