随着时间的推移,人们越来越发现,所谓的电影流派的构成实际上更多的是一种被构成——按照新闻效应或理论发现的需要被命名和宣传。其实,某个群体之被称为流派和浪潮,与其说是建立在导演们的观念兴趣、风格习惯或题材倾向趋同的基础上,不如说是由他们同此前的某种艺术传统或创作稳态的“同仇敌忾”而来,例如:没有对粉饰太平的“白色电话电影”一致的反拨,便不会有意大利新现实主义的诞生;同祥,法国“电影手册”编辑部的同仁们也多半是因着对战后的“优质电影”的不满才聚集在新浪潮的大旗下的。当然,除了共同的镖靶,还有经历、年龄的类似、社会观和意识形态的相投及对新的制片方式的认同等因素在起作用。但无论如何,它们仍然不能有效地规范群体呈现出一致的创作形态,被评论家们归纳的“流派特征”并不 As time goes by, it is increasingly found that the composition of the so-called genre of movies is actually more of a composition - named and advertised as needed for news effects or theoretical discoveries. In fact, a group known as the genre and the wave, not so much based on the director’s concept of interest, style or theme of convergence of the subject, rather than from their previous artistic tradition or creation of steady state For example, without the unanimous backwash of the whitewash of the whitewash, there will be no birth of the Italian neo-realism. In fact, most of the colleagues in the editorial department of the French Film Handbook It was because of the dissatisfaction with the post-war “high-quality film” that it was gathered under the banner of the new wave. Of course, in addition to the common dartboard, there are factors such as experience, similar age, social conception and ideological congeniality and recognition of the new production method. However, they still can not effectively standardize the group’s consistent creative style. The “genre characteristics” summarized by critics are not