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当第五代导演的中坚分子仍然执著于以精美的电影形式编织民族寓言,在历史文化的层面上讲述故事时,我们开始渴望一种拒绝远离生活的经验形态的叙事,一种拒绝掩饰转型期中国社会内在焦灼的世俗神话。《大撤把》、《找乐》、《无人喝彩》等一批都市电影的出现,在某些方面满足了我们的愿望:它们提供了当代社会生活的影像符码,再现了都市风貌的空间景观和都市人群的精神痼疾。
As the fifth-generation filmmakers are still clinging to braiding the national parable in fine cinema and telling stories on a historical and cultural level, we begin to yearn for a narrative that rejects the empirical form that goes far away from life, a refusal to disguise the transitional period The inner world myth of Chinese society. The advent of a series of metropolitan cinemas, such as “The Great Catch,” “Find Happiness,” and “Unpopularity,” met our aspirations in some ways: they provide the visual code of contemporary social life and reproduce the metropolitan-style Spatial landscape and mental illness in urban populations.