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中国的西部电影从来不是一个不证自明的概念,它并不一定以漫天的黄沙为视觉图谱,在惩恶扬善的故事主线中,为观众上演一场孤胆英雄没有悬念的胜利。不同于美国西部片的类型化范式,它实际是一种特殊指认。有关乡野与城市、荒蛮与文明、守旧与开拓的二元对立语境并非准确有效的界定,相反,它以传统的厘清方式模糊了这一概念。事实上,从80年代至今,中国西部电影从没在主题预设中集体陷落;而是各自以不同的脉络,对农耕的、游牧的、乃至城镇的、职场的生活风貌与思想内涵,予以多向度的呈现与表达。
China’s western film has never been an unsubstantiated concept. It does not necessarily take the sky and sand as its visual map, and does not suspense the audience with a lone hero in the main line of punishment and improvement. Unlike the typological paradigm of the American westerns, it is actually a special designation. The dichotomous context of countryside and cities, barbarism and civilization, conservativeness and pioneering is not an accurate and valid definition. Instead, it obscures this concept by traditional clarification. In fact, from the 1980s to the present, the films in the western regions of China have never collectively fallen into thematic presuppositions. Instead, they each have different contexts to give more explanations on the living style and ideological connotation of farming, nomadic and even urban and workplace areas The presentation and expression of the degree.