1987年12月中旬,杨光远导演在南京参加军事题材影评征文颁奖活动期间,笔者访问了他。笔者在祝贺杨导演的《血战台儿庄》荣获“百花奖”时,提及影片结尾处一组“血肉长城”的造型,充分表现了中华民族的抗战是由千万中华儿女的血肉铺成的历史内涵。杨导演说,在《八女投江》中,也在结尾前拍摄了一组八位女战士从战火和泥潭中挣扎着站起来的镜头。由于她们遍体泥泞,伤痕累累,又是在运动中高速摄影,因而形成一组象泥塑一样的动态造型,是全片意蕴最集中的表现。这组动态造型与《血战台儿庄》那组静止造型异中有同,都是从写实到写意的升华,同样都塑造了不屈的民族之魂。杨导演在影片的造型艺术上有着明显的追求。他说,讲究造型,一是为了求真实求新颖,二是为了增 In mid-December 1987, director Yang Guangyuan visited Nanjing during his essay awarding ceremony on military issues, and the author visited him. In congratulating Yang on his “Bloody Taierzhuang” won the “Hundred Flowers Award,” mentioning the end of the film a group of “fierce Great Wall” shape, fully demonstrated the Chinese nation’s war of resistance is tens of millions of Chinese children’s flesh and blood paved history Connotation. Director Yang said that in the “Eight Women and Three Women” project, a group of eight female warriors who were struggling to stand up from the war and quagmire were also shot before the end. Because they are all over the muddy, scarred, but also in the movement of high-speed photography, and thus form a group like clay-like dynamic modeling is the most concentrated expression of the whole film. This group of dynamic modeling and “Bloodshed Taierzhuang” static set that same style, are from the realistic to the freehand sublimation, also shaped the indomitable spirit of the nation. Director Yang has a clear pursuit of the art of film. He said that pay attention to modeling, one for the sake of seeking novelty, the second is to increase