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中国电影从本世纪二三十年代开始伴随着中国的城市化进程一路走来,记录者用影像的形式记录一个时代的风貌和形态,描摹了历史衍变之中人们对于“集体时代”的“集体回忆”。直至今日,随着电影创作的多元化探索,不同创作者赋予当下时代的主观性情感表达,中国都市电影的发展也进入了一个新的阶段。这一时期的都市电影更多地关注当下都市中普通人在所处时代中个体的生存境况和个体情感,立足表现“城市”与“人”之间微妙的情感关系。当代中国电影中取材城市生活的并不少,但大多以其为题材,并未表现时代精神本身,或缺乏现代性特征。真正关注城市本体或致力于描摹当下城市族群精神世界、最有发言权的莫过于拍摄了《重庆森林》等影片的著名香港导演王家卫和包揽28届香港金像奖最佳影片等数项大奖的《天水围的日与夜》的导演许鞍华,还有国内一直致力于都市电影题材创作、拍摄过《开往春天的地铁》等影片的张一白导演。他们的影片虽风格迥异并都拥有其鲜明的个人化印记,三位导演都通过影片聚焦了城市精神与个体情感的本质,构筑了时代的铭文。
From the 1920s and 1930s, Chinese cinema began to follow the process of urbanization in China. The recordists recorded the style and form of an era in the form of images, depicting the evolving history in which people regard the “collective era.” “Collective memories ”. Up to now, with the diversified exploration of cinema creation and the subjectivity and emotional expression given by different creators in the present era, the development of Chinese urban cinema has entered a new stage. Urban films in this period pay more attention to the subtle emotional relationship between the “city” and the “people” of the ordinary people in the current metropolitan. In modern Chinese films, there are quite a lot of urban life, but most of them take the theme as an example. They do not show the spirit of the times themselves or lack the characteristics of modernity. The real concern for the city itself or to devote itself to depicting the spirit of the city’s urban population, the most say than filming “Chongqing Forest” and other famous Hong Kong filmmaker Wong Kar-Wai and the 28th Hong Kong Awards for Best Picture and many other awards Director Ann Hui of “Tin Shui Wai’s Day and Night,” and director Zhang Yibai, who has been working on urban film themes and filmed the “Metro to Spring” films. Although their films are very different styles and have their own distinctive personal imprint, the three directors are focused on the film through the spirit of the city and the nature of individual emotions, to build the era inscriptions.