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每当回顾自己的历史,侯孝贤总要提到一本书,他生命里最重要的一本书——《沈从文自传》。1983年,人生的第三个本命年,彷徨中的侯孝贤从朱天文手上拿到这本书。这本书为他在那之后的所有影片找到了语言。1983年,对百年中国电影史来说,注定是个特殊的年份。大陆出现了第五代;台湾新电影运动方兴未艾,其奠基之作《儿子的大玩偶》拍摄完成。1983年,拍摄完《儿子的大玩偶》的侯孝贤极度恐慌。他意识到自己导演生涯的非自觉阶段已经结束。“喜欢什么就拍什么,对我来说已经没有意义了。”一个崭新的自觉阶段开始了。他在恐慌和害怕中寻找,他需要一个自己能安身其中的系统,一门最适合自己内在血液的叙事语言,为心灵里的所有素材制作节奏,编排次序。
Whenever looking back on his own history, Hou Hsiao-hsien always mentions a book, the most important book in his life, “Biography of Shen Congwen.” In 1983, the third native life of life, humble Hou Hsiao-hsien from Zhu Tianwen hand to get the book. This book found the language for all of his films since then. In 1983, for a hundred years of Chinese film history, is destined to be a special year. The fifth generation of the mainland appeared; Taiwan’s new film movement in the ascendant, its foundation for the “son’s big doll” filming completed. In 1983, Hou Hsiao-hsien, who shot the “son’s big doll,” was extremely panicked. He realized that the non-conscious phase of his director’s career was over. “It does not make sense for me to take whatever you like.” "A new stage of self-awareness begins. He looks for panic and fear. He needs a system he can fit in, a narrative language that best suits his inner blood, and a rhythm and sequence for all the material in his heart.