“巨片意识”在历史片中的日益加强,人们已经习惯从一个全新的角度,从更为广阔和深沉的视觉背景中挖掘新的审美价值取向,为此,电影界以宏篇巨制地记录历史而时髦。传统意义上的历史片,人们最为关注历史为教育服务(如《武训传》),“教育”成了历史影片的主题意义,为此而很少去关注历史深沉的哲学思考。值得庆幸的是近年来有一批历史片的推出,已经开始关注于这种思考:《冯玉祥》为历史的人物画廊添了精采的一笔;《孙中山》为这段中国历史的“伟人”而作传,使人们能够从中估评这“传记”本身的时代价值;还有《末代皇后》也并非仅是这末代历史的单纯抄录,而是开放地思索中国的女性……影片尤其是历史片,必须从历史中寻找现在的价值,并在对逝去历史的探寻中寻找一种新的悲剧意义上的价值。应当承认,传统的爱国主义思维表现模式仍然规定着历史片发展的方向,使得历史片在对自身重新思考的过程中难以超脱。《屠城血证》也试图从历史的 “The Awareness of the Greats” has been increasingly strengthened in the history films. People have become accustomed to digging new aesthetic values ​​from a broader perspective and deeper visual backgrounds. For this reason, the film industry records in a grand manner History and fashion. In the traditional historical film, people are most concerned about the history of education services (such as “Wu Xun Biography”), “education” has become the theme of the historical film, for which very few attention to historical philosophical thinking. Fortunately, a number of historical films have been launched in recent years, and attention has been paid to this thinking: “Feng Yuxiang” added a brilliant piece to the historical figure gallery; “Sun Yat-sen” made a contribution to this “great man” in Chinese history Biography, so that people can assess the “biography” of the times the value of the times; and “The Last Empress” is not just a mere transcript of this last generation of history, but an open thinking of Chinese women ... ... films, especially historical films, We must find the present value from the history and look for a new tragic value in the search for the past history. It should be acknowledged that the traditional mode of expression of patriotic thinking still stipulates the direction for the development of the historical film and makes it difficult for the historical film to transcend itself in the process of rethinking itself. “Tucheng blood card” also tried from the history