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从《洗澡》到《昨天》再到《向日葵》,父与子成为张扬始终关注的主题,他执着于表现父子之间的疏离与隔阂,以及疏离隔阂背后的父子挚爱。而这些影片中,总是存在一种家庭关系的三角模式,决定了家庭成员之间力量的对比与消长,矛盾的冲突与制衡。
From “bathing” to “yesterday” to “sunflowers,” the father and son became the subject of constant publicity. He clings to the alienation and estrangement between father and son and the love of father and son behind the estrangement. In these films, there is always a triangular model of family relations, which determines the contrast, decline and conflict of power among family members, as well as conflicts and checks and balances.