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七年前的一部《垂帘听政》,算来也许是清宫片的滥觞之作了.就象《少林寺》之于武打片,《垂》片很自然的产生了轰动效应.时至今日,武打片已是门前冷落,倒是清宫片的持续升温且大有欲罢不能之势不禁叫人困惑.故事片也好,电视剧也罢,都是一种娱乐载体,是基于审美特性的真善美的统一.回首清宫片的历史,如果说早期的《垂帘听政》等片,通过对以慈禧为代表的清宫女性这一特殊角色的政治生活和私生活的展示,从一个角度揭示了封建末代王朝的极端腐朽的话,那么,后来以《末代皇帝》为代表的一大批细致展现晚清帝王生活的影视片,则堂堂正正地将清宫片这个题材演绎到了顶峰.然而,也正是这一阶段出现的那部洋人执导的《末代皇帝》,预告了清宫片在题材的表现上的局限性和由此孕藏的危机.《末》片的成功在很大程度
Seven years ago, a “curtain curtain to listen to politics,” may be considered as the origin of the Qing film .As the “Shaolin Temple” in the martial arts film, “vertical” film has a natural sensational effect.Now, martial arts Film is already in front of the cold, it touches on the Qing film continued warming and the temptation to stop tempting can not help but bewildered .Film films, TV series worth mentioning, are an entertainment carrier, is based on the aesthetic characteristics of the unity of truth, goodness and beauty. If we say that the early “curtain-court hearings” and other films show the political life and private life of the special role represented by the Empress Cixi, revealing the extremely decadent words of the last feudal dynasties from one perspective, Later, a large number of film and television films that meticulously display the life of the imperial emperors in the late Qing Dynasty, represented by “the last emperor,” solemnly took the theme of the Qing dynasty films to its peak.However, it was precisely this stage where the foreigner’s “ Emperor ”, foreshadowed the limitations of the Qing Dynasty film in terms of the performance of the subject and the crisis in Tibet in the end.“ The success of ”film" to a large extent