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七十年代美国电影中值得注意的现象之一,就是有不少制片人利用美国人民对某些重大政治事件的关心,拍摄一些多少触及美国现实政治问题的影片。这些影片虽然也对美国虚伪的“民主政治”进行了一定程度的抨击,但大多数属于“小骂大帮忙”性质。1977年在美国及世界各地广泛上映的《夕阳余辉》(Twilight’s Last Gleaming),就是这一类型影片之一。这部影片根据瓦特·威格的小说改编,由一向以拍摄打斗片著称的罗伯特·阿尔德里奇导演,西方一些影评家把它列为“政治惊险片”,有的则称之为“政治幻想片”。在表现手法上,片中大量采用“多银幕”或所谓“分割银幕”,即在一个银幕上同时出现两个、三个甚至四个画面,用以表现同时展开的情节。凡是这类场面都标以☆,以资识别。为了使大家对当今美国电影中的这一创作倾向以及表现手法上的新花招有所了解,这里将日本《电影旬报》1977年5月上旬号刊载的影片记录本译出来,供参考。
One of the notable phenomena of American films in the 1970s was that many filmmakers took advantage of the concern of the American people for some major political events and shot some films that touched real-world political issues in the United States. Although these films also attacked the hypocrisy of “democratic politics” in the United States to some extent, most of them belonged to the nature of “curse and helplessness.” Twilight’s Last Gleaming, released in the United States and around the world in 1977, is one of the genres. The film is based on the novel by Wat Wig, directed by Robert Aldrich, who has long been known for his filming shuffle, and some Western critics classified it as “political thriller” and others as “political fantasy sheet”. In terms of performance, the film uses a large number of “multi-screen” or so-called “split screen”, that is, on the same screen appear two, three or even four images, to show the plot at the same time. All such scenes are marked ☆, to identify. In order to give an insight into this creative trend and the new tactics used in contemporary American cinema, here we translate the video recordings published in the Japanese newspaper Jubilee newspaper in early May 1977 for reference.