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2002年的中国银幕,逐鹿把群雄联系在一起,快乐地交融在一起。中国电影人进入无“代”时期。作为第四代第五代第六代,或新生代的群体风格特征皆然模糊而褪色了。“代”在这一年已失去风格标志和群落特征。第四代曾深情铭刻的人文情结,第五代曾有过的狂飚突进,第六代的特立独行,新生代的自恋咏叹与另类模样都在这一年淡漠了记忆,仿佛遗留在昨天。而做为中国电影走向成熟的标志——类型化特征则日渐明显。关注类型特征,进入无“代”时期,群雄逐鹿——可看性,是进步耶?退步耶?
In 2002 the Chinese screen, chasing together the heroes, happily blend together. Chinese filmmakers entered the era without “generation”. As the fourth generation of the fifth generation of the sixth generation, or Cenozoic group style features are vague and faded. “Generation” has lost its style symbol and community characteristics during this year. The fourth generation had deep affection engraved humanities complex, the fifth generation had been crazy Biao breakthrough, the sixth generation of the maverick, the new generation of narcissistic aria and alternative look indifferent memories of this year, as if left behind yesterday. As a symbol of the maturity of Chinese film - the type of features is becoming increasingly evident. Concerned about the type of characteristics, into the “generation” era, crowded - look at the sexes, is to improve the spirit of Jesus?