1.梅兰芳陈凯歌涉足人物传记片,从自身的角度说,是一种无奈。因为从先前的作品来看,陈凯歌主张艺术形式的原创性。《黄土地》是一部艺术理念与语言彻底更新的经典;《孩子王》在原著的基础上加强精英主义式的文化批判;《霸王别姬》则在历史“大叙事”中凸现个体脆弱情感的“小叙事”;《无极》把个人选择与承担的艺术主题放置在通俗的偶像爱情模式上。如此等等,不仅和人物传记片无关,而且积极地进行了形式主义扩张。形式主义以导演的艺术风格 1. Mei Lanfang Chen Kaige involved in biographical films, from its own point of view, is a helplessness. Because from the previous works, Chen Kaige advocated the originality of the art form. “Land of the Yellow Earth” is a classic of the renewal of artistic concept and language; “King of Children” reinforces elitist cultural criticism on the basis of the original works; “Farewell My Concubine” highlights individuals in history “Big Narration ” Fragile emotion “little narrative ”; “Promise” placed the theme of personal choice and commitment on the popular idol love mode. And so on, not only has nothing to do with biographical films, but also actively carried out formalist expansion. Formalism takes the director’s artistic style