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台湾“后新电影”这一命名显示了近年来台湾电影的复兴仍未摆脱新电影所形塑的认知和意义范型。新一代的台湾电影人以所谓的“庶民美学”作为其美学上的出发点,但由于理解上的偏狭,他们所践行的“庶民美学”不仅无法发出庶民的真实声音,其对台湾本土元素的堆砌与拼贴最终反而导致了庶民实际生存状况的扭曲和遮蔽。
The name “Taiwan after the new movie” shows that the rejuvenation of the Taiwanese film in recent years has not yet got rid of the cognitive and meaningful paradigm shaped by the new movie. A new generation of Taiwanese filmmakers use the so-called “common people’s aesthetics” as their aesthetical starting point, but because of their narrow understanding, the “common people’s aesthetics” practiced by them not only can not send out the true voice of common people, The pile-up and collage of Taiwan’s native elements eventually led to the distortion and obscuring of the people’s actual living conditions.