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摆在前面的是我国影坛一九八七年“南北对峙”的局面。南者,电影创作实践的情绪之波(挑战者吴贻弓位居上海,故称南);北者,电影理论研究的蛰伏之态(应战的人大本营座落北京,故称北),《少爷的磨难》偏偏在南北对峙呈胶着状态的当儿问世,真是哪壶不开提哪壶。《少爷的磨难》属于轻喜剧,这种影片在中国供不应求,《少爷的磨难》由吴贻弓执导,这种导演在中国并不多见。以上情况似乎不允许电影批评对《少爷的磨难》不予理睬。这是问题的一个方面。另一个方面,若干年来电影理论渐次变得只提及《黄土地》。若非特故,《少爷的磨难》这一类俗片得不到青睐,特
In the front is the situation of the “North-South standoff” in our country’s film scene in 1987. South, the movie wave of emotional practice (Challenger Wu Yi bow top in Shanghai, so called South); the north, the theory of dormancy film theory (war camp is located in Beijing, so called North), “young master Hardship ”happens to be in the state of confrontation with the North-South was coming out, really what pot does not open which pot. “Young Master’s Tribulation” is a light comedy. This kind of film is in short supply in China. “The Grudge of the Master” was directed by Wu Yi Gong. This director is rare in China. The above situation does not seem to allow film criticism to ignore the “young master’s hardship.” This is one aspect of the problem. On the other hand, the theory of film has gradually become more than “yellow land” over the years. If not accidental, “Master’s hardship” this kind of vulgar films are not popular, especially