文革中后期拍摄的故事片,明显还带有革命“样板戏”创作模式的印迹。影片中的音乐同样如此,普遍存在标签化、概念化、雷同化、脸谱化问题。而响、硬、亮则构成其主要表现特征。经过近40年岁月的漂洗,这些作品政治色彩已经逐渐退色,并被历史所封尘。但用历史唯物主义的观点,从艺术创新角度来审视它们,所取得的艺术成就还是值得肯定的。 The feature films filmed in the mid-and-late period of the Cultural Revolution obviously bear the imprint of the “model opera” mode of creation. The same is true of the music in the film, the prevalence of labeling, conceptualization, assimilation, facial issues. The ring, hard, light constitutes the main performance characteristics. After nearly 40 years of rinsing, the political color of these works has gradually faded and been sealed by history. However, from the point of view of historical materialism, it is worthy of affirmation for the artistic achievements they have made from the point of view of artistic innovation.