史和現(xiàn)實(shí)：不一樣的中國(guó)電影.docVIP

歷史和現(xiàn)實(shí)：不一樣的中國(guó)電影ssstnt 2009年11月10日08:51 來(lái)源：21世紀(jì)英語(yǔ)網(wǎng) 點(diǎn)擊 102次我喜愛(ài)坐在大銀幕前欣賞電影。來(lái)中國(guó)之前，我每年都要到影院欣賞50-100部電影（而在美國(guó)平均每人每年的觀影量只有4部）。它們大都是非英語(yǔ)類影片，其中包括張藝謀、陳凱歌以及另外一些導(dǎo)演拍攝的華語(yǔ)影片。上個(gè)世紀(jì)八十年代，在這些導(dǎo)演的努力下，中國(guó)電影又得以回歸世界舞臺(tái)。 I love watching movies on the big screen. Before coming to China, I used to see 50-100 films a year in theaters (the average American watches just four). Most of them were foreign movies, including films of Zhang Yimou, Chen Kaige and other directors who put Chinese cinema back on the world stage in the 1980s. 我來(lái)中國(guó)后，曾遇到的一件出乎意料的事情就是很多中國(guó)朋友告訴我，他們實(shí)在是不喜歡我看過(guò)的那些影片。我為此大吃一驚。拿張藝謀來(lái)說(shuō)，他仍舊是我最喜愛(ài)的導(dǎo)演之一，大紅燈籠高高掛也始終是我最喜愛(ài)的影片之一。 One of the many surprises awaiting me in China was having lots of Chinese friends say that they really didnt like these films. I was taken aback initially by such comments. Zhang Yimou, for example, is still one of my favorite directors and Raise the Red Lantern remains one of my all-time favorite movies. 但是在中國(guó)生活四年后，我漸漸理解了他們的想法。一個(gè)中國(guó)朋友曾對(duì)我說(shuō)，這些影片其實(shí)與當(dāng)今中國(guó)的實(shí)際情況毫不相干，而且大多數(shù)在加深西方社會(huì)對(duì)舊中國(guó)的成見(jiàn)。它們絕大多數(shù)都是歷史題材的影片，有以建國(guó)前歷史為背景的，也有深刻討論改革開(kāi)放前社會(huì)問(wèn)題的。 But after living in China for four years, Im less puzzled by such views. As one Chinese friend told me, these films really have little to do with contemporary Chinese realities and mainly reinforce Western stereotypes about the Middle Kingdom. Most are historical dramas set in pre-1949 China or focus on its problems before the reform and opening up. 那些在西方上映的中國(guó)當(dāng)代影片，不僅僅以一個(gè)灰色的視角描述整個(gè)國(guó)家，還嚴(yán)肅地討論著問(wèn)題的所在。值得一提的就是李楊于2003年執(zhí)導(dǎo)的盲井，影片圍繞著河南礦工們的故事展開(kāi)，這部電影也在西方權(quán)威影展上奪得大獎(jiǎng)。無(wú)論是電影本身還是其探求的深層意境，該片都充滿了濃重的黑色。 Chinese films about contemporary China shown on Western screens not only depict the country in a very negative way, but also go about it with seriousness. A case in point is Li Yangs 2003 film about Henan coal miners, Blind Shaft, which won awards at several major Western film festivals. This film is very dark indeed, both figuratively and literally. 我發(fā)現(xiàn)，中國(guó)的賣(mài)座片是一些美國(guó)人眼中的無(wú)名之輩所拍攝的喜劇片。在美國(guó)此類電影可能不會(huì)公開(kāi)放映，但至少在影迷的心中，它們?cè)溨C幽默，意味悠長(zhǎng)，是好萊塢主流影片所望塵莫及的。 Ive discovered that the films Chinese watch in large numbers are comedies made by directors not known in the US. These films may not make the art-house circuit in America, but for this cinephile at least, they are funny and sophisticated and stand head and shoulders above most mainstream Hollywood films. 比如寧浩的最新力作瘋狂的石頭和瘋狂的賽車(chē)，這兩部影片講述了當(dāng)今中國(guó)人對(duì)于金錢(qián)的狂熱追逐。但片中導(dǎo)演巧妙地運(yùn)用了幽默手法來(lái)敘述整個(gè)事件，這恰恰是盲井這一類影片所缺少的東西。 For example, Ning Haos recent smash hits, Crazy Stone and Crazy Racer are all about the mad pursuit of money in todays China. But they bring to this issue a deftly humorous touch that is altogether missing in films like Blind Shaft. 兩部影片講述了不同的荒誕故事，片中不乏利欲熏心的商人、職業(yè)殺手及其競(jìng)爭(zhēng)對(duì)手笨手笨腳的盜賊團(tuán)伙、山寨藝術(shù)家，以及兩個(gè)不得志的老實(shí)人瘋狂的石頭中的保安隊(duì)隊(duì)長(zhǎng)以及瘋狂的賽車(chē)中的自行車(chē)手耿浩。 Both movies are crazy stories about venal, thuggish businessmen, competing groups of bumbling criminals and con artists, and two honest men - a security chief in Crazy Stone and cyclist Geng in Crazy Racer - with the latter being defeated in their efforts to do the right thing. 中國(guó)城市富裕家庭中與日俱增的離婚率也成為另一部影片的主題馮小剛2003年的作品手機(jī)，該片是中國(guó)近年來(lái)最賣(mài)座的影片之一。它由著名喜劇演員葛優(yōu)，張國(guó)立出演，片中他們風(fēng)流成性，其妻子及戀人在手機(jī)上發(fā)現(xiàn)了他們出軌的證據(jù)。 The soaring divorce rate among affluent urban Chinese couples is the subject of another one of Chinas recent box office hits, Feng Xiaogangs 2003 film, Cell Phone. This film casts the well-known comic actors, Ge You and Zhang Guoli, as serial philanderers whose infidelity to their wives and girlfriends is uncovered through cell phones. 在馮導(dǎo)最近的一部愛(ài)情喜劇片非誠(chéng)勿擾中，葛優(yōu)依舊是男一號(hào)，該片在去年大受歡迎同時(shí)也摘得了國(guó)內(nèi)票房總冠軍。不同于美國(guó)愛(ài)情喜劇片中一貫皆大歡喜的結(jié)局，非誠(chéng)勿擾為觀眾獻(xiàn)上的是一份苦樂(lè)參半的答卷。 Ge is also Fengs leading man in his latest romantic comedy, last years hugely popular If You Are the One, which became the highest grossing movie in China. While American romantic comedies typically have happy endings, If You Are the One concludes on a bittersweet note. 與非誠(chéng)勿擾相比，宿醉和假結(jié)婚存在東施效顰之嫌，而今年美國(guó)的票房冠軍除了這兩部這樣以拉斯維加斯為背景的粗俗喜劇片，剩下的都是科幻影片。這些虛幻的大制作及少觸及真實(shí)世界，更別提美國(guó)社會(huì)了。相比之下，近年來(lái)中國(guó)的賣(mài)座片往往能帶給觀眾一個(gè)迷人的視角，從中人們可以看到中國(guó)是如何迅速成長(zhǎng)為一個(gè)日益都市化的繁榮社會(huì)。 Save for the raunchy comedy set in La Vegas, The Hangover, and The Proposal, which is all fluff compared to If You Are the One, the top box office films in the US this year were all fantasy/science fiction movies. This escapist pelf has ver