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对于作为历史话语的影视作品,有一个论点始终是有效的:“重要的是讲述神话的年代,而不是神话所讲述的年代。”(汉德森语)一九六三年,著名小说《野火春风斗古城》被改编为同名电影并获成功;为纪念世界反法西斯战争胜利五十周年,同名大型电视连续剧于近期播出,这使我们再一次关注这一命题。“讲述的年代”怎样选择了“所讲述的年代”?又怎样决定了讲述的方式? 对于从硝烟中走出的第三代导演,拍摄刚刚逝去的历史是对革命战争的呕歌,是心灵的恋曲,因此,包括电影《野火春风斗古城》在内的新中国十七
One argument that has always been valid about the film and television works as historical discourse: “It is important to tell the age of the myth rather than the age of the myth.” (Henderson) In 1963, the famous novel Wildfire Spring Fortune City “was adapted into the movie of the same name and was successful; in commemoration of the fiftieth anniversary of the victory of the world anti-fascist war, the same name large-scale television series was recently broadcast, which makes us once again concerned about this proposition. How did the story of the era be described in the Chronology of the Narrative? How did the storyline be determined? For the third generation of directors who had come out of the smoke, filming the passing history was a vociard of the revolutionary war, Love song, therefore, including the movie ”Wild Fire Spring City", including the new China seventeen