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九十年代初期,正是中国的经济等各个方面在突飞发展的时期。而在这一时期以娄烨等被冠之第六代年轻导演的身份也逐步被观众所认知,中国电影也开始了一种新局面。娄烨的作品不多,但是其风格却十分独特。和第五代导演相比,第六代导演似乎出道于边缘,这种暧昧不清的边缘意识却实实在在的体现在他们不约而同的叙述特点,从“边缘”群体中透视一个时代的风景,娄烨无疑是这种说法的实证。可以说娄烨的电影既有第六代的集体特征,又带有鲜明的个人特色。
In the early 1990s, it was the rapid development of all aspects of China’s economy. In the meantime, the identity of the sixth-generation young director who was championed by Lou Ye was also gradually recognized by the audience and a new situation has also begun for Chinese films. Lou Ye’s works are few, but his style is very unique. Compared with the fifth generation of directors, the sixth generation of directors seems to be on the verge of leaving the ambiguous edge of the real sense is actually reflected in their spontaneous narrative features, from the “edge” group perspective of an era Landscape, Lou Ye is undoubtedly an example of this argument. It can be said that Lou Ye’s film has both the collective characteristics of the sixth generation and distinctive personal characteristics.