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悲欢离合是中国传统文艺的重要母题,中国电影对悲欢离合叙事模式的钟情由来已久。港澳台电影是中国电影的重要组成部分,其文艺片创作对悲欢离合叙事模式的运用和发挥最为充分。港澳台文艺片的悲欢离合叙事模式以回环往复的时空结构、贯穿影片始终的意象和对超越性的审美境界的追求呈现出特有的哲思和审美风韵,以其对民族文化传统的深层次继承触动中国观众的内心世界。
The joys and sorrows are an important motif of Chinese traditional literature and art. Chinese films have a long history of love and sorrow. Hong Kong, Maucao and Cinderella films are an important part of Chinese cinema, and their use of literary and artistic productions makes full use of the narrative mode of joys and sorrows. The narrative mode of joys and sorrows in Hong Kong, Maucao and Taiwan shows a peculiar philosophical and aesthetic charm through the film’s reciprocal temporal and spatial structure, the consistent image of the film and the pursuit of the transcendental aesthetic realm, which is triggered by its deep inheritance to the national cultural tradition Chinese audience’s inner world.