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以“现代性”脉络观察电影史,“一九六○年”是一个极具界碑性质的分水岭,佳作频出,意义深远:路易·马勒的《扎齐在地铁》、小津安二郎的《秋日》、费德里科·费里尼的《甜蜜的生活》、英格玛·伯格曼的《处女泉》、让-吕克·戈达尔的《筋疲力尽》、弗朗索瓦·特吕弗的《枪击钢琴师》、路易斯·布努埃尔的《年轻人》等等,这些杰作中电影本体的自觉以及革命般的现代气息,影响了之后无数电影人的创作轨迹,也深刻改变了观众对于电影这一媒介的理解。那一年,还有一部公认的艺术性和商业性俱佳的上品——阿尔弗
In the context of “modernity”, the movie history was observed. In 1960, it was a watershed with great boundaries. The works of art were frequent and of great significance. Louis Mahler’s Zachary in the Subway and Ozu Anjiro’s Autumn, Federico Fellini’s Sweet Life, Ingmar Bergman’s Madonna, Jean-Luc Godard’s Exhausted, Watter Truffaut’s “The Pistols” and Luis Bunuel’s “Young Men” and so on. The self-awareness and revolutionary modern flavor of these masterpieces have affected the creative trajectory of countless filmmakers afterwards. It also profoundly changed the audience’s understanding of the medium of film. That year, there is also a well-recognized artistic and commercial superior goods - Alf