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电影《二十四城记》秉承了导演贾樟柯一贯积极的入世心态,将两层客体,即人物个体和工厂生命体,糅合于双重的表意,即怀旧与诉苦之中,借助这种丰满的电影语言,完成了以工厂回忆为载体的对现时世界反向而清晰地坦诚接受和美好寄望。此外,影片在历史纵深中挖掘被政治与时间合谋屏蔽的苦难声音,使其内容具有人类学文献的价值意义,带给观众以边缘化的他者之观照。
The movie “City in Twenty-Four” adheres to the consistent positive attitude of China’s WTO entry into joining the two layers of objects, namely individual figures and factory life, into a double expression of nostalgia and complaint. With this full film Language, and completed the candid and candid reception and goodwill toward the present world in a counterpoint to the memory of the factory. In addition, in the historical depth, the film excavated the misery afflicted with political and time collusion to make its contents have the value of anthropological literature and give the audience a view of the marginalized others.