论文部分内容阅读
与主旋律电影竭力远离当下现实,竭力躲避当下中国社会矛盾或者强力阐释当下中国社会现实不同,大陆的独立电影作者一直存在着一种呈现现实的冲动。这种呈现现实的冲动表现在两方面:1.有质感地呈现生活;2.忠实地再现现实生活中的社会关系。我们从贾樟柯的《小山回家》、《小武》中看到小城镇底层青年的生活状态和他们的心中理想,我们从李扬的《盲井》看到中国社会中人性的黑暗、沉沦和人在沉沦中的挣扎;我们从宁浩的《香火》中看到由一个和尚串联起的社会生活广阔画面和这个和尚为了修缮泥菩萨而走向道德败坏。我们从宁浩的《疯狂的石头》中看到中国社会中尔虞我诈的状态和导演如何以一种幽默态度和完美的叙事来呈
With the main theme of the film trying to stay away from the reality of the moment and try its best to evade the current social contradictions in China or to explain the current reality in society in China, there has always been a realistic impulse in mainland Chinese independent film writers. This realistic impulse is manifested in two aspects: 1. presenting the life with texture; 2. faithfully reproducing the social relations in real life. From Jia Zhangke’s “Hill Going Home” and “Xiaowu”, we can see the living conditions of the young people in the small towns and their ideal at heart. From the “blind wells” of Li Yang, we can see the darkness, the sinking of human nature in the Chinese society We are struggling with the sinking of people. From the “incense” in Ning Hao, we see the vast expanse of social life from a series of monks in tandem with the monk’s moral degeneration in order to repair the bodhisattva. From the “Crazy Stone” of Ning Hao, we can see how the state of intrigue in Chinese society and the director are presented with a sense of humor and perfect narration