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每个镜头都是一张明信片《天堂之日》是马利克导演的第二部影片。我们现在看马利克之后的影片《细细的红线》和《新世界》,可以发现相比于《恶土》是《天堂之日》界定了马利克电影的特征和惯用的拍摄手法。相比于《恶土》的紧凑结构,《天堂之日》更为松散。《恶土》有着容易辨识的主题,容易理解的人物,并且《恶土》属于公路片这一二十世纪五六十年代开始流行的类型,包含着公路片共有的特征。虽然《恶土》不如《邦尼与克莱德》和《逍遥骑士》那般轰动,但是这部影片的高度艺术成就让马利克成为新好莱坞受瞩目的导演之一。派拉蒙的高层巴里·迪勒特别欣赏《恶土》这部电影
Each shot is a postcard “The Day of Paradise” is the second film directed by Malik. When we look at Malik’s movie “Thin Red Lines” and “New Worlds,” we can see that Malicious films were characterized and used frequently compared to “evil land” or “paradise day.” Compared to the compact structure of “evil land”, “the day of paradise” is more loose. “Bad Land” has easily recognizable themes and easy-to-understand figures, and “Bad Land” is a type of road film that became popular in the 1950s and 1960s. It contains the characteristics common to road films. Although “evil land” is not as sensational as Bonnie and Clyde and “Rider”, the film’s highly artistic accomplishments have made Malik one of Hollywood’s most sought-after directors. Paramount’s top Barry Diller especially admired the film “Badlands.”