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如果把电影人的成功定义为受众的广泛,那么纵观整个华语电影界,如果李安自称第二,恐怕无人敢言第一。他的成功不仅仅体现在其作品的圆熟,题材的多元和知名度的广播,更在于他在东西方两种迥异的文化环境里的进退自如。很难想象一个人能把中国传统的伦理纲常和人情图谱描摹到纤毫毕现(“父亲”三部曲)之后,转身就去研习美国的家国历史[《冰风暴》(The Ice Storm,1997)和《与魔鬼共骑》(Ride with the Devil,1999)];用写
If the film’s success is defined as a wide range of audiences, then take a panoramic view of the Chinese film industry, if Ang Lee claimed second, I am afraid nobody dared to speak first. His success is not only reflected in the maturity of his works, the diversification of his subjects and the broadcast of his popularity, but also his ability to advance and retreat in two different cultural environments, East and West. It is hard to imagine that after one can portray the traditional Chinese ethics and human relations to the slightest milestone (“Father’s Trilogy”), he turns to study American family history [The Ice Storm , 1997) and Ride with the Devil (1999)]; write