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本文从《浪淘沙》的历史遭际出发,基于导演对电影本体问题的追求,具体剖析了《浪淘沙》与《贪欲》之间的互文关系,从而揭示出前者在吸收后者营养之时所加入的中国化思考及其引发的历史性批判:《贪欲》建立起“沧海一粟”的横向空间,人物与环境的对抗关系跃然银幕,而《浪淘沙》则加入了垂直线,直指人心之不定,也丰富了影像空间;《贪欲》的悲剧性源于“市场”的压力,而《浪淘沙》悲剧性则源于“政治”的裹挟。
Based on the historical experience of Lang Taosha, based on the director’s pursuit of the movie noumenon, this article analyzes the intertextual relations between Lang Taosha and “greed” in detail, revealing that the former is in the process of absorbing the nutrition of the latter At that time, the Chinese thinking and the historic criticism it triggered were: “Greed” established the horizontal space of “a drop in the ocean”, the confrontation between characters and the environment was on the screen, and “Lang Taosha” joined the vertical Line, directed at the uncertainty, but also enriched the image space; “greed” tragedy from “market ” pressure, and “trampoline ” tragedy stems from “political ” coercion.