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战后三十年,能在世界影坛占一席地位的亚洲国家,除了日本就是印度。西方人一般只知道日本的黑泽明、小津安二郎和印度的萨特亚吉特·雷等人。 75年以来,东南亚的一些导演也崭露头角,开始引起世界影坛的注目。菲律宾的利诺·伯劳卡,泰国的彻德·桑塔斯利和印尼的泰戈·卡雅便是其中的佼佼者。 43岁的伯劳卡自70年起开始导演故事片,短短二年中,先后执导了《期望:完美的母亲》等九部影片。为了提高影片质量,1974年他与人共创了影业公司,虽然该公司仅生存了三年便告破产,可他在此期间完成了《马尼拉,在黑暗的魔影中》(1974)和《印赛安》(1975)这两部描写社会最底层生活的影片,从而饮誉嘎纳,名扬西方。公司倒闭后,他仍坚持不懈地摄制触及社会的影片,不过改变了策略,注重了情节戏。77年起,他竟每年平均拍摄六部影片,借此来抵
Thirty years after the war, Asian countries that can make a name for themselves in world cinema, except Japan, are India. Westerners usually know only Japan’s Kurosawa, Ozu Yasujiro and India’s Satyajit Ray and others. For 75 years, some directors in Southeast Asia have also come to the fore and started to attract the attention of the world film industry. Among them are Lino Buruca in the Philippines, Chet Santasli in Thailand and Tagore Kaya in Indonesia. The 43-year-old Beruca has been filming the feature films since 1970. In just two years, she has directed nine films, “Expectation: Perfect Mother”. To improve the quality of the film, he co-founded a video company in 1974. Although the company went bankrupt after only three years in existence, he completed “Manila in the Darkness” (1974) and The Incas (1975) These two films portraying the lowest level of life in the community led to Cannes, famous in the West. After the company collapsed, he persevered in filming social films, but he changed his strategy and focused on the plot. From 1977 onwards, he actually made an average of six films a year to get it