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近来看到报刊上一些有关巨片和巨片意识的谈论,谈的多是影片的历史跨度很大,人物繁多,场面恢宏,胶片很长,耗时之久和耗资之巨,等等。关于影片思想、艺术的容量如何,特别是人物塑造的典型概括力怎么样,却涉及不多甚至没有谈到。难道上述这些就是巨片的特征或主要特征吗?我以为,这种谈论还是表象的和不全面的。因为所谈这些,只是巨片的外在表现,还不是巨片的本质特征——思想内容的巨大的容量,特别是集中地表现在人物塑造上的巨大的典型概括力——如果我们相对地称之为巨片的内巨的话,那么这种内巨才是巨片之核,是巨片的本质性的特征。因此之故,所谓巨片意识,也就主要应该是如何运用上述那些外巨形式技巧来表现比一般影片更大的思想内容,特别是来塑造比一般影片中的人物更具典型概括力的人物性格的意识。
Recently, we have seen some talk in newspapers about the awareness of the great films and the great films. Most of them talk about the history of the film spanning large numbers, rich people, magnificent scenes, long, long and expensive films, and so on. With regard to the idea of film, what is the typical capacity of art, especially the characterization of characters, involves little or no talk. Is this the feature or the main feature of the film? I think this talk is still apparent and incomplete. Because of what is being said, it is only the external manifestation of the film, not the essential feature of the film-the immense capacity of the mind, in particular, the enormous typical generalization of characterization-and if we are relatively speaking The huge giant, then this huge giant is the core of the film is the essential feature of the film. Therefore, the so-called megacelle awareness is also mainly how to use the above-mentioned external forms of expression to express larger ideas than the average film, in particular to create more typical characters than the average person Character consciousness.