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盖·里奇在成为导演后,将个性中对主流思想和主流艺术手法的抵制沿用到了电影创作中来,恰好迎合了整个后现代主义时代人们的审美需求。里奇的电影,在内容上对原有的道德秩序进行推翻,在艺术上追求一种拼贴、跳跃、无厘头、不稳定的状态,正是雅俗共赏的、颠覆性的后现代电影特征的体现。文章从盖·里奇电影对叙事框架固定性的打破,对丑角的狂欢性书写,对邪典特质的渲染三方面,以后现代主义视角观照盖·里奇的电影创作。
After becoming a director, Guy Ritchie inherited the boycott of mainstream ideas and mainstream art practices from the individual genre to cinematographic creations, catering to the aesthetic needs of the entire postmodernist era. Ricci’s film, in the content of the original moral order to overthrow, in the pursuit of a collage collapsing, jumping, does not make sense, unstable state, it is refined, popular, subversive postmodern characteristics of the film. The article reviews the cover film creation of Guy Ritchie from three aspects: the breakage of the fixation of the narrative frame, the carnival writing of the clown, the rendering of the cultic features of the ghosts by Guy Ritchie.