论文部分内容阅读
从威尼斯电影节拿奖归来后,《红颜》在大陆一直不温不火、淡淡地流行着。《红颜》拥有一个很结实的开头:上世纪80年代初,偏僻的四川小镇,小云偷尝禁果产下一子。如果说杂乱喧嚣的山西县城是属于贾樟柯的,那寂寞压抑的四川小镇显然是李玉得心应手的影像空间。在她擅长的纪录片式镜头下,这“丑闻”宛如一块巨石,激荡着一潭死水的小镇。借助这起非常事件.小镇的日常生活、舆论道德、教育体制等一点点抽丝剥茧般被呈现出来:平静且保守,温情又顽固,禁欲,同时也纵欲。伴随着从蔡琴到费翔那些有着鲜明印记的流行歌曲.影片构成了80年代中国边远地区特有的文化记忆。从这个意义上说,在李玉看似朴实的镜头下.还是能看出她想重现历史的叙事野心。
After returning from the Venice Film Festival, the “Yan Yen” has been tepid in mainland China. “Yan Yen” has a very strong beginning: the early 80s of last century, the remote town of Sichuan, Xiaoyun steal the fruit of the ban the next child. If the clutter of the hustle and bustle of Shanxi Province belongs to Jia Zhangke, then lonely suppressed Sichuan town is clearly Li Yu handy image space. Under the documentary footage she is good at, this “scandal” is like a boulder that inspires a stagnant water town. With this extraordinary incident, the town's everyday life, media ethics and education system are all presented in such a small and clumsy way: calm and conservative, tender and stubborn, ascetic and indulgent. Along with the popular songs from Tsai Chin to Fei Xiang, which have a distinctive mark, the film constitutes a unique cultural memory of remote areas in China in the 1980s. In this sense, under Li's seemingly simple lens, she can still see the narrative ambition she wants to reproduce history.