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李玉导演的《观音山》算是近几年来内地颇为成功的文艺片。作为文艺片,其成功的定义不仅在于票房的回报,影片本身的艺术价值和思想内涵更值得探讨,因而激起争议也在所难免。所以文艺,既是影片表达更多的是人的存在状态,同时配合个人化的情绪和思考,就需要特殊的表现手法。《观音山》最大的特色就在于为表现青春“躁动”这一情绪基调所选取的中近景手持摄影,引起争议的也在于这种“文艺”手法呈现于大银幕之时,一部分观者感到颇为不适。
Director Li Yu’s “Guanyin Mountain” is regarded as a very successful literary film in the Mainland in recent years. As a literary film, the definition of its success is not only at the box office returns, the film itself, the artistic value and ideological content more worthy of discussion, thus arousing controversy is inevitable. Therefore, literature and art are not only expressions of human beings that exist more in the film, but also require special expressions in response to personalized emotions and thinking. “Guanyin Mountain,” the biggest feature is that in order to show the youth “restless ” the mood of the selected hand-held handheld camera, controversial also lies in this “literary ” approach is presented on the big screen, part of The viewer feels quite uncomfortable.