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1948年费穆导演的黑白电影《小城之春》代表了中国电影从二十世纪二、三十年代传统的浪漫现实主义发展到心理现实探讨的现代电影层次,不但是当年中国电影的里程碑,更可以媲美1941年《大国民》在美国电影中的地位。电影以一个少妇(比兴中华之美)周旋于丈夫(东亚病夫)和旧情人(西医的入侵)的三角故事来进行中国电影美学上技巧与风格的探讨,建立一套以诗词赋比兴和戏曲美学为基础的民族电影手法,实在是非凡的成就。整部《小城之春》的场面、演出、对白和旁白都精彩百出,往往出人意表;剧本亦具有高度的文学价值,可说是石破天惊地建立了一套完整卓越的民族电影美学体系。
In 1948, Fermi’s black-and-white movie “The Spring of a Small Town” represented the modern film level of Chinese film from the development of traditional romantic realism to the psychological reality of the 1920s and 1930s. It is not only a milestone of Chinese movies in that year, Comparable to the status of the “Great Nation” in 1941 in American films. The film explores the aesthetics and style of the aesthetics of Chinese cinema with the triangular story of a young woman (Bei Hing Chinese beauty) swirling around her husband (sick man of East Asia) and the old lover (invasion of western medicine) Aesthetic-based national film tactics, it is an extraordinary achievement. The whole scene of “Spring in a Small Town” is full of performances, dialogues and narration. It is often surprising. The script also has a high literary value. It can be said that it has created a complete set of excellent and excellent system of national film aesthetics.