一、长镜头:聚焦生活,聚焦社会“边缘人”1997年贾璋柯的处女作《小武》引起了国际的关注,影片表现了以扒手为职业的城镇青年梁小武在他所处的那个社会中的生命状态,深切体现了导演对那些为社会所唾弃的“边缘人”的关注。在这部电影中许多镜头的运用似乎是随遇而安的,像一个冷静的观察者,若有所思地停顿,漫不经心地前行。小武到小勇家那一段,镜 First, the long lens: focus on life, focusing on society “marginal man ” Jia Zhangke’s debut in 1997, “Wu” has aroused international concern, the film shows the pickpocket occupation town young Liang Xiaowu in his society In the state of life, deeply embodies the director for those who cast aside the “marginal man” concern. The use of many shots in this movie seems to be a successor, like a calm observer, who pensively pauses and walks casually. Xiao Wu Yong brave that period, mirror