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在新生代导演群体中,王小帅是一位始终坚持艺术自我、电影风格独特的导演。从其早期聚焦于边缘人生的影片《冬春的日子》和《扁担·姑娘》,到中期更多转向特定社会历史背景下小人物成长创伤的影片《十七岁单车》和《青红》,尽管故事可能另类或沉重,但他一直保持着平和的创作心态,银幕影像表达冷静内敛,而少有同龄导演作品中惯有的题材挑衅和主题叛逆。而且他的电影一直保持着纯粹的艺术探索本性,不会为了迎合国内或海外某种特定的市场去刻意改变创作初衷,这是非常可贵的电影精神。
In the new generation of director groups, Wang Xiaoshuai is always a director of the art of self, the film’s unique style. From its early days focusing on marginalized life, “The Spring and Autumn Days” and “Barebacked Girl,” to the mid-term, the films “Seventeen-year-old cycling” and “Cyan redness”, which turned to the traumatization of small characters in a particular social and historical context, The story may be alternative or heavy, but he has maintained a calm creative mentality, calm and restrained on-screen video expression, and less the same age director’s usual subject matter provocative and rebellious theme. And his films have always been purely artistic exploration of nature, not to cater to a particular domestic or overseas market to deliberately change their original intention, which is very valuable movie spirit.