作業(yè)講解fanyizuoyeyanshiwengao(編輯修改稿)
2024-10-27 15:19 本頁面
【文章內(nèi)容簡介】 the thoughts about films in 1980s. Seen from the themes, their enlightenment appealed to and answered the spirit of times, with the camera perating reality, history, culture and so on, which expressed a strong wish to liberate the humanity and reflect upon the culture. 在藝術(shù)上，這些電影崇尚表現(xiàn)主義和象征主義，以顛覆性的構(gòu)圖和濃烈的色彩，沖擊已模式化了的革命現(xiàn)實主義電影模式，諸多電影突破了文學(xué)對于電影的束縛，具有了的“電影性語言”，不再依靠戲劇性情節(jié)結(jié)構(gòu)敘事，而致力于營造情感或者心理的鏡頭邏輯，真正顛覆了中國電影的“影戲”傳統(tǒng)。 Artistically, these films upheld the expressionism and the symbolism, and the stereotyped revolutionary realistic films were shocked by the subverting position of the pictures and the dense color. Many films got rid of the fetters of the literature and were endowed with the film language. The dramatic plots were no longer turned to, but the camera logic of feelings and psychology was underlined. So the traditions of the Chinese film dramas were really subverted. 第五代電影以民族寓言的宏偉敘事對抗革命烏托邦的宏偉敘事，以歷史尋根的反思精神延續(xù)了“五四”以來反思國民性的啟蒙主題，是 80年代啟蒙主義文化思潮的一個重要分支。 Fighting against the grand Utopian revolutionary narration by the grand narration of national fables, the fifth generation films, by the spirit of seeking the historic root, continued the enlightening themes of reflecting the nationality derived from the May 4th Movement, which constituted a main branch of the cultural thoughts about the enlightenment in 1980s. 八十年代中后期，作為一個世俗現(xiàn)代化過程的神學(xué)階段，啟蒙主義文化思潮面臨終結(jié)，時代需要另外一個文化先鋒，把人們帶回凡間，王朔應(yīng)運而生。 After the mid1980, as a theological stage of the secular modernization, the cultural thoughts of the enlightenment faced its end and the times required another pioneering culture to lead the people to the secular earth. Wang Shuo was thus born. 1988年，有四部王朔小說被改編為電影，王朔小說改編的電影有明顯的文化反抗意識，人生困境與無奈游戲的表達(dá)脫離了一般娛樂電影的藝術(shù)趣味，其“頑主”式話語策略是對文化精英與政治精英共同制造的中國當(dāng)代啟蒙主義文化神話的消解，形成了又一個先鋒電影思潮 ——玩世現(xiàn)實主義電影思潮。 In 1988 of Wang Shuo’s novels four were adapted to films, which had an obvious cultural revolt. The expression of the human difficulties and forced games was deviant from the artistic taste of the mon films of entertainment, and discourse strategy of the “employer” pattern dissolved the cultural mythology of the contemporary Chinese enlightenment coauthored by the cultural and political elite, which formed another idea about the pioneering films, a thought of cynical realism. 這是一個過渡性的電影思潮，其意義在于作為一個橋梁銜接起了啟蒙主義電影思潮與后現(xiàn)代主義電影思潮，這也是王朔在當(dāng)代中國文化中的意義，他是聯(lián)結(jié)兩個文化時代的焊點。 This was a transitional movie thought, whose meaning lied in bridging the ideas of the enlightenment and those of the postmodernism, which presented the cultural meaning of Wang Shuo
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