论文部分内容阅读
2017年,张杨的两部作品《冈仁波齐》《皮绳上的魂》,先后在6-8月上映。《冈仁波齐》更是成为话题性电影,票房过亿。两部作品均在西藏拍摄,更有意思的是,两部作品以分组的方式,先后拍摄(2013年11月-2014年11月)。在同一年的时间里,诞生了两部风格迥异,甚至是两极化的作品。本文试图从两部作品的视听、叙事以及主题内核来寻找一个走在自己电影朝圣之路上的张杨。一、视听《冈仁波齐》用客观纪实的手法,在视觉上强
In 2017, Zhang Yang’s two compositions, “Gang Rinpoche” and “Soul on the Leather Belt,” were released in June-August. “Gang Rinpoche” is to become a thematic movie, box office billions. Even more interesting is the fact that both of the two works were shot in Tibet. The two works were shot in groups (November 2013-November 2014). In the same year, two very different and even polarized works were born. This article attempts to look for a piece of Zhang Yang walking on the path of his film pilgrimage from the audiovisual, narrative and subject core of the two works. First, audio-visual “Gang Rinpoche” with objective and documentary approach, visually strong