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杨超作为第六代新锐导演的代表之一,因艺术电影《长江图》(2016)获得人们的特别关注。一方面,《长江图》在摄影、音效等领域频频获奖[1],给观众带来无比美妙的视听享受。另一方面,不能仅仅将《长江图》视为视觉奇观电影,认为电影的视觉奇观大于叙事。尽管《长江图》并非古典叙事电影,但仍旧是叙事电影,因为电影依靠叙事传达出了“心灵史诗和现实史诗”[2]。事实上,如果我们注意到《长江图》之前的两部艺术电影,即《待避》(1997)[3]、《旅程》(2004),则可以从互文性的视角发现,前后跨越20年之久的《待避》《旅程》《长江图》等
As one of the representatives of the sixth generation of cutting-edge directors, Yang Chao received special attention for his art film “The Yangtze River Map” (2016). On the one hand, the “Yangtze River Map” has won numerous awards in fields such as photography and sound effects [1], bringing spectacular audio-visual enjoyment to the audience. On the other hand, we can not just consider the “Yangtze River Picture” as a visual spectacle movie, which considers the visual spectacle of the movie larger than narrative. Although the “Yangtze River Map” is not a classic narrative movie, it is still a narrative movie because the movie relies on narration to convey “spiritual epic and realistic epic” [2]. In fact, if we notice the two art films before the Yangtze River Plot, namely “Avoidance” (1997) [3] and “Journey” (2004), we can find from the intertextual perspective that the two art films spanned 20 years For a long time “to be avoided” “journey” “Yangtze River map” and so on