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自上世纪初中国电影诞生始直至70年代末,国内电影创作一直为“故事”或“理念”所统摄;相形之下,以心灵驿动、情绪演进为骨血的文艺电影创作则一直游走于影坛边缘。可以这么说,文革前的文艺电影创作属个体零星创作,文革后的属群体创作——发轫于78年思想解放运动之后,受惠于特定时代的中外文艺思潮,有着文学、美术等艺术部类的从旁帮衬与支援;且国内头三拨学院派电影人——第四、五、六代群体亮相,大气候之渲染与庇护,使每一创作个体皆大胆地将舆论顾虑弃之脑后,将一己感受于银幕上尽情宣泄与抒写。
Since the birth of Chinese cinema from the beginning of the last century until the end of the 1970s, the domestic cinematic creation has been dominated by “stories” or “ideas.” By contrast, literary and artistic cinematic productions, Film edge. It can be said that literary and artistic cinema creation before the Cultural Revolution belonged to individual sporadic creation and that after the Cultural Revolution it was a group creation. After 78 years of ideological liberation movement, it benefited from the trend of Chinese and foreign literary and artistic trends in a particular era, And the first three dial-in-school filmmakers - the fourth, fifth and sixth generation groups unveiled, the rendering of the climate and asylum, so that each individual who are creatively boldly put aside the concerns of public opinion, Will have their own feelings on the screen to vent and expressive.