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作为90年代晚期巴西电影的先锋人物,塞勒斯是在80年代巴西电影工业日益衰落时以一部获奖纪录片进入影坛的。之后,他又陆续拍了《异国他乡》、《生活在别处》、《太阳背面》、《鬼水怪谈》、《中央车站》和《摩托车日记》等影片,尤其是1999年的《中央车站》被誉为“全世界最好看的电影”之一,再现了70年代巴西电影的辉煌。纵观华特·塞勒斯的本土电影,会发现他的影片中较好的体现了巴西“新电影十年”的基本艺术风格,同时,他的影片还有着鲜明的个人印记和民族特色,而且始终贯穿着寻根、成长、救赎的叙事主题。
As a pioneer of Brazilian films in the late ’90s, Sellers entered the film with an award-winning documentary when the Brazilian film industry dwindled in the 1980s. After that, he successively made films such as “Expatriate Hometown”, “Living Somewhere Elsewhere”, “The Back of the Sun,” “The Ghost Water Monster Talks,” “Central Station” and “Diary of Motorcycles,” especially the 1999 Central Station Known as “one of the best movies in the world,” one reappears the glory of a Brazilian film in the 1970s. Throughout his native Films, Sellers will find that his films better embody the basic artistic style of Brazil’s “New Film Year”, and at the same time, his films have distinctive personal imprints and national characteristics, And it runs through the narrative theme of seeking roots, growing up, and redeeming.