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在中国电影中,还没有这样一部商业噱头和艺术探究紧密结合的影片,尤其是作为当事人出演曾经被社会风传而与公众传统所不齿的不良经历,并真切再现而令人恍惚如梦的艺术作品。的确,《昨天》的招数包含了当下社会大众文化背景中不期然选择的共同性与艺术对个人感受内在热衷的挥之不去的执着。看清这一似乎矛盾却微妙之处,可以更好的探究21世纪的新锐电影人张扬们深陷时潮又拼命保有创作个性的艰难和可贵。《昨天》的故事有一个矛盾点,即对被抛弃的“昨天”的精细入微展示和悲悯情怀,与相比之对昨天
In Chinese movies, there is no such commercial gimmick that closely interlinked with art exploration. Especially as a party, it appears in the art that has been socially discredited and disgraced with public traditions and is truly reproduced in a trance. works. Indeed, the “yesterday” tricks include the lingering dedication of the commonality of the unwitting choices in the current social popular culture and the inherent craving for personal feelings of the arts. To see this seems contradictory but subtle, you can better explore the 21st century cutting-edge film people who are deeply immersed in the tide and desperate to keep the creative personality of the difficult and valuable. The story of “Yesterday” has a paradoxical point, that is, the subtle display of compassion and the fondness of the abandoned “Yesterday,” compared with yesterday