《一九四二》复现了我们民族生存史上的一段秘史、一场浩劫,见证着民族苦难的深度、广度与长度,该片拒绝僵死、空洞、静止的空间设置,极大地凸现了空间的批判与指意功能,代表了冯小刚电影空间图式的最新探索。 “1942” has reproduced a section of the secret history in the history of our nation’s existence, a catastrophe that witnessed the depth, breadth and length of the national suffering. The film rejected the rigid, empty and static space setting, which greatly highlighted the space Criticism and meaning function, on behalf of the latest exploration of Feng Xiaogang’s movie space pattern.