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只有儿童,才会把电影仅仅看作是杂耍,而忽略或毫不计较、也不会在意电影外的意义。尽管如此,我们还是要承认,好些电影,实在没有必要太多地去探寻它的不能不附加在电影这个美丽躯体之上的意义,否则,很容易滑入损伤观影的快感的意识形态狭缝中去,从而清洗了电影的魅力。这如同我们面对一位美人,如果过多探究她的金钱观、她的家庭背景、甚至她肠胃中的疾病一样,我们当然就要付出丧失审美迷恋的代价。如果我们在《卡萨布兰卡》(《北非谍影》)里,将里克置换成美国对待法西斯的前后态度转化的符号,固然也说得过去,但却因此而榨干了电影作为电影的叙事特性,进而剥夺了人性的复杂、丰富、变化莫测和对正义追求的恒定性。
Only children, the film will only be regarded as juggling, and ignore or careless, do not care about the meaning outside the film. Nevertheless, we still have to admit that it is not necessary for many films to explore too much its meaning that can not be attached to the beautiful body of the movie, otherwise slides easily into the slightest slit of ideology that damages the pleasure of cinema In order to clean the movie’s charm. It is as if we were confronting a beautiful woman. If we explore too much about her money concept, her family background, and even her illness in the stomach, we must of course pay the price of losing her aesthetic fascination. If we replace Rick in the “Casablanca” (“Beijia espionage”) with the symbol of the American attitude towards fascis before and after, it is fair to say that it has drained the film as the narrative feature of the film and is thus deprived of it The human nature is complex, rich, unpredictable and constant pursuit of justice.