自二十世纪五十年代末开始,历时三年对卡蒂埃-布勒松所谓“资产阶级新现实主义摄影”的清算,到七十年代中期对安东尼奥尼“资产阶级新现实主义电影”的谴责,其结果是我们与西方世界的记录影像价值观念越行越远,难以对话。—题记1974年上半年举国批判安东尼奥尼《中国》事件中,“用心”与“手法”这两个词,无意间成为解读、规训20世纪后半期我们影像文化生态的标尺。1972年暮春时节,我们的客人、意大利导演、共产党员米开朗基罗·安东尼奥尼先生一行7人,带着超8毫米摄影机,经时任总理周恩 Since the end of the 1950s, the liquidation of the so-called “bourgeois neo-realism photography” by Cartier-Bressson took three years, ending up in the mid-1970s with Antonioni’s “bourgeois neo-realism Movie ”condemnation, the result is that we and the Western world record video values ​​farther and farther, difficult dialogue. - Inscription In the first half of 1974, when the nation criticized Antonioni’s “China” incident, the words “intentions” and “practices” became inadvertently the ruler to interpret and discipline our image culture in the latter half of the 20th century. During the late spring of 1972, our guest, the Italian director and communist member, Mr. Michelangelo Antonioni, accompanied by a super-8mm camera and then Premier Zhou En