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2004年9月,中国影迷即将迎来《2046》的公映。 众所周知,王家卫的《2046》今年5月份在第57届戛纳国际电影节上颗粒无收;而张艺谋雄心勃勃地带着《十面埋伏》杀向戛纳也铩羽而归;战绩不错的就剩下台湾的李安了,他的获了奖的《卧虎藏龙》在评论界也争议颇多——近年来备受观众瞩目的这两岸三地的三大导演已经几乎成为中国蒙太奇的代言人,但他们到底是否代表当代中国电影的真正水平? 王家卫、李安、张艺谋三人,从地域看,恰呈鼎足之势;从他们三人的成长历程看,又颇具有相似之处——他们三人的生活经历中都分别有两个主要城市作为背景。俗话说,一方水土养一方人,对于王、李、张亦如是。不同的地域文化,在他们的电影中构成了不同的元素,体现出不同的风格。 本文试图从三个人生长的地域因素来探讨,中国近20年来的电影人文发展脉络。
In 2004 September, Chinese fans are about to usher in the “2046” release. As we all know, Wong Kar-wai's “2046” in May this year in the 57th Cannes International Film Festival confiscated; and Zhang Yimou ambitious with “ambush” kill to Cannes also plunge; a good record of the rest of Taiwan Ang Lee, his award-winning “Crouching Tiger, Hidden Dragon,” has also been controversial in the critics. In recent years, the three directors from both sides of the Taiwan Strait who have drawn the attention of the audience have almost become the spokespersons of montages in China, but they In the end whether it represents the true level of contemporary Chinese film? Wong Kar Wai, Ang Lee, Zhang Yimou three, from the geographical point of view, just Dingzu trend; from the growth of the three of them look, they have quite similarities - the three of them In the life experience, there are two main cities respectively as the background. As the saying goes, one side of water and soil to support one person, for Wang, Li, Zhang is also true. Different geographical cultures, in their films constitute a different element, reflecting a different style. This article attempts to explore the context of the development of the film culture in the past 20 years in China from the geographical factors in which three people grow.