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无论是样板戏《智取威虎山》还是电影《林海雪原》,都是特殊时代背景下意识形态宣传的产物,而徐克把《智取威虎山》拿到了商业市场,采取淡化革命意识和政治色彩、张扬普世价值观的态度,用通俗美学叙事的策略重新关照这个十足特别的“红色经典”之时,我们看到导演有意识的想将前作缺失的人性找回来。3D版《智取威虎山》是对“压迫—反抗”模式的改写:压迫虽制造仇恨,但并不必然导致反抗。阶级斗争的话语在新版电影中彻底失语了。在追求令人炫目的视觉奇观之下,电影理性叙事的能力被弱化。与其视觉奇观的张扬相比,杨子荣和203首长的主体表现却显得十分单薄,个人智慧价值的体现也不突出。
Regardless of whether the model opera Zhijie Weihushan or the movie Linhai Xueyuan is the product of ideological propaganda in the special era, Xu Ke took the Chihwei Mountain to the commercial market and took down the revolutionary consciousness and Political sense, and public opinion of universal values, and revisiting this very special “Red Classics” with the tactics of popular aesthetics narrative, we see that the director consciously wants to find the humanity that was missing before. The 3D version of “Taking Tiger Mountain” is an adaptation of the “oppression-resistance” model: oppression, though it creates hatred, does not necessarily lead to rebellion. The discourse of class struggle completely aphasia in the new movie. Under the dazzling visual wonders, the ability of the film to narrate narratives is weakened. Compared with the publicity of visual wonders, the performance of the main body of Yang Zirong and 203 heads of state appears to be very thin, and the manifestation of personal wisdom value is not outstanding either.