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知道王超是通过他的前两部电影作品《安阳婴儿》和《日日夜夜》,也因为这两部影片,确立了他在中国所谓第六代导演中的合适位置。如今的影坛,原本一直埋没“地下”的第六代仿佛巧借东风,大有振翅高飞之势,这不仅仅体现在第六代中的幸运儿贾樟柯。其实,说起第六代,仿佛几个关键词就可以概括:平民甚至平民到边缘、朴实甚至朴实到粗糙、真实甚至真实到残酷。总之,一部第六代影片编年史就是一个鲜活生动质感的当代中国,一群依然具备着影像良知的年轻电影人用他们活动的声画之笔,自由无忌地刻画着他们心目中行走迅疾又步履蹒跚的沉重中国。
Knowing that Wang Chao was through his first two films, Anyang Baby and Day and Night, and because of these two films, he established his rightful place in the so-called sixth generation of directors in China. Today's film, the original has always been buried “sixth underground” as if through borrowing the east wind, great wings and trending, not only in the sixth generation of lucky child Jia Zhangke. In fact, speaking of the sixth generation, it seems as if a few key words can be summed up: civilians and even civilians to the edge, simple and even simple and crude, real and even cruel. In short, a sixth-generation film chronicle is a lively and vivid texture of contemporary China. A group of young filmmakers who still possess the conscience of the image use the vivid brushwork of their activities to freely and vividly portray the rapid movement of their minds Heavy faltering China.