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《孔雀》讲述了一个普通中国家庭的历史,它把那段特殊岁月的故事娓娓道来之后,似乎为第五代导演关于文革记忆的讲述画上了一个暂时的句点。从陈凯歌的《霸王别姬》开始,中国过于丰富的近现代历史对于个体命运的纠缠就成了一种通用的叙事模式,无论是《蓝风筝》、《活着》,还是《阳光灿烂的日子》都力图在个人化的文革记忆中取得历史与艺术之间的平衡。《阳》淡化了前几部影片中具有强烈伤害性的社会外力背景,而《孔雀》此番所努力营造的正是与其一脉相承的“淡淡的哀愁”;稍有迥异的是,《阳》的“大院子弟”可
Peacock, which tells the story of an ordinary Chinese family and tells the story of that particular age, seems to give a temporary epilogue to the fifth-generation director’s account of the memory of the Cultural Revolution. From Chen Kaige’s “Farewell My Concubine,” China’s over-enrichment of modern history has become a universal narrative mode for the fate of individuals. Whether it is “Blue Kite,” “Living,” or “Sunny Day” All strive to achieve a balance between history and art in the memory of a personalized Cultural Revolution. “Yang” downplayed the first few films with a very harmful background of social forces, and “Peacock” this time efforts to create exactly the same strain of “light sadness”; slightly different is that “Yang ”“ Courtyard yard ”may