原文载于深焦DeepFocus微信公众号平台
序言
60年代,日本电影开始走向衰退期,在日活浪漫情色路线与青春电影、东映仁侠路线、松竹“寅次郎系列”、ATG的异色崛起等热潮过后,终于在80年代迎来摄影所制度的彻底瓦解,这一改变所直接导致的重大后果之一正是“电影明星时代”的终结。
从70年代开始,各大电影公司都已几乎放弃“造星运动”,安逸于将活跃于电视平台的人气歌手与艺人拽进大银幕。唯一的例外只有捧红若干“情色明星”的日活,虽说如此其人气也不过局限于“情色电影”这一小范围领域之中
This week’s discussion prompt exactly explains why I don’t quite like this film. Although Izumi is the only main character in this film and the core of all the plots, I could not find a specific and powerful identity from her. In other words, the constant fluidity and ambiguity of Izumi confuses me and block my potential emotional resonance with her. I don’t agree that there is a unilateral or unidirectional change in her characters, not simply transforming from immatur
《水手服与机关枪》此片海报可能是对主题的最好诠释
转载请注明网址: https://www.vschang2018.cn/post/26044.html