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香港与内地联合摄制的电影多了起来。不久前看了《海市蜃楼》,又看了《大上海1937》。笔者深感这种合作是必要的,有益的。对着港电影界来说,祖国大漠风光,名城轶事等大大开拓了艺术家的视野,丰富了电影的内容;而香港拍摄娱乐片自有独到之处,诸如惊险逼真的特技,新颖别致的武打,以及不拘泥于真实而敢于发挥电影之长的艺术风格,无疑对国产娱乐片也不失为很好的借鉴。在这种成功的合作中,笔者尚有一小小的建议,就是艺术上尽管取长补短,但在思想内容上却要尽可能选择香港与内地观众都能接受的观点,特别是牵涉历史人物更应如此。比如,影片《大上海,1937》中上海三大亨之一的杜月笙这一形象,内地观众就有些不同看法。杜月笙抗战期间逃往香港,不和日寇协作,
There are more films jointly produced by Hong Kong and the Mainland. Not long ago read the “mirage”, read the “big Shanghai 1937.” I deeply feel that such cooperation is necessary and beneficial. For the Hong Kong movie industry, the scenery of the desert in the motherland, the anecdote of the famous city greatly open up the artist’s field of vision and enriched the content of the movie. Hong Kong’s filming entertainment has its own unique features such as the thrilling stunt and novel martial arts , As well as not rigidly adhere to the reality and dare to play the film’s long art style, no doubt for domestic entertainment is a good reference. In this successful cooperation, the author still has a small suggestion that despite its artistic superiority, it should, as far as possible in the content of its ideology, choose the point of view acceptable to both Hong Kong and the Mainland audiences, especially if historical figures are involved . For example, the film “Big Shanghai, 1937” one of the three tycoons in Shanghai, Du Yuesheng this image, the mainland audience have some different views. Du Yuesheng fled to Hong Kong during the war, not with the Japanese invaders,