我们生活在和平年代,对真实的战事一无所知,却时而有幸看到一种电影,透过媒介,穿越到另一重空间。在这重空间里,我们曾像透明的浮游生物一般,漂浮在半空,看过太多纷飞的弹火,擦肩而过的嘶吼与血气。这类宏伟的战争场面,多数电影通常或借助油画般的质感向我们进行传达,或借助极具现实性的拍摄方式进行传达。显而易见的是,它们似乎都习惯性地倾心于此:场面,表达一切。诚然,数不清的事实早已证明这条规律的合理性,甚至愈演愈烈,几近升级为一条万能公式。而作为最终端坐在荧屏前 We live in peacetime and know nothing about real warfare, but we are fortunate to see a movie that crosses into another space through the media. In this heavy space, we used to be like transparent plankton, floating in the air, watching too many flying ammunition, passing roar and blood gas. In these magnificent war scenes, most movies are usually conveyed to us with the help of oil-based textures or through very realistic filming. Obviously, they all seem to habitually focus on this: the scene, to express everything. It is true that innumerable facts have long proved that this law is reasonable and even intensified, and has almost escalated into a universal formula. And as the final sitting in front of the screen