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在电影界许多人眼里,朱大可无疑是大逆不道之辈。当千家万户锁上门涌向电影院争看谢晋的《高山下的花环》和《美蓉镇》时,他的“谢晋模式”一说就不知伤了多少人的感情。一石激起千重浪,评论界近乎白化热的争论至今余音萦耳;今年三月份,《红高粱》一枝独秀,作为青年文艺批评家的朱大可自然少不了要讲几句,岂料又招来了电影理论界权威邵牧君先生十分激动的责问《你到底要想说什么?》,文章对朱大可发表于3月5号《文汇电影时报》的《在反叛与皈依之间》一文进行了严厉的批评。五月的一个傍晚,笔者叩开了朱大可小小的家门,话也自然从邵牧君的那篇文章说起。
In the eyes of many people in the film industry, Zhu Da-ku is undoubtedly the most outrageous generation. When tens of thousands of families locked up to the theater to contend Xie Jin’s “garland under the mountain” and “Mei Rong Town,” he said “Xie Jin model” did not know how many people hurt feelings. A rock aroused thousands of waves, critics almost albino heat debate so far; in March of this year, “Red Sorghum” thriving, as a young literary critic Zhu Dayu naturally a few words to be heard, but unexpectedly attracted Mr. Shao Mujun, authoritative author of film theory, scolds with great excitement, “What the hell are you going to say ?,” the article severely punished Zhu Da Ke on “The Rebellion and the Conversion” published in the Wen Wei Film Times on March 5 Criticism. One evening in May, I knocked on the little door of Zhu Da Ke, then naturally from Shao Mujun article talking about.