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当现代都市悬疑题材越来越彰显出市场效应,文艺片也开始被包装成迎合大众浅层快感的模样肆意横行。《白日焰火》《天亮之前》《心迷宫》等经过商业包装后的艺术片票房的成功使得这种现象加倍升级,这与《喊·山》等纯艺术片在电影院几乎争取不到排片的情况形成了鲜明的对比。在这样的市场环境下还敢将镜头对准大山深处,仅此一点,《喊·山》导演李彦廷就是令人钦佩的。而将此片的故事背景置于八十年代的晋西北,显然寓意颇深。
When the theme of modern urban suspense more and more highlights the market effect, the art film has also begun to be packaged to meet the general public shallow delight like rampant rampant. This phenomenon has doubled due to the success of the art box office after commercial packaging, such as “Daydream”, “Before the Day”, and “The Heart Labyrinth”. This is hardly the case with pure art films such as “Ye Shan” The situation formed a sharp contrast. In such a market environment dare to point the camera at the depths of the mountains, only this point, “Ye Shan” director Li Yanting is admirable. And the film’s story background in the 1980s northwestern Shanxi, obviously quite deep meaning.