本文關(guān)鍵詞： 李文斌 何國正 無間道 梁家輝 影子武士 社會內(nèi)涵 金像獎 蔡元 劉杰 暗潮涌動 　出處：《電影評介》2016年14期 　論文類型：期刊論文

【摘要】：正從《無間道》以來香港警匪片往往離不開"證人""線人""臥底"這幾個關(guān)鍵詞,《寒戰(zhàn)》也是從這一角度入手來進行創(chuàng)作,但是《無間道》的成功實在很難超越�！逗畱�(zhàn)2》的編劇可謂另辟蹊徑,將個人之間的斗爭擴展到勢力集團的斗爭,電影中的個人也變成了利益集團的棋子。香港警匪片大部分是正義與邪惡的較量,表面上警察代表正義,匪徒代表邪惡,但是《寒戰(zhàn)2》中匪徒和警察之間是交融的,不僅是和警察還有更高層的行政
[Abstract]:Since "Infernal Affairs", Hong Kong police and bandit films have often been inseparable from the key words of "witness", "informant" and "undercover". "Cold War" has also been created from this angle. But the success of "Infernal Affairs" is really hard to surmount. The screenwriter of "Cold War II" is a new way to extend the struggle between individuals to the struggle of power groups. The individuals in the film have also become chess pieces for interest groups. Most of the Hong Kong police films are a contest between justice and evil. On the surface, the police represent justice and bandits represent evil, but in "War of the Cold War" there is a mixture of bandits and police. Not just with the police, but with higher levels of administration.
【作者單位】： 武漢大學藝術(shù)學系;湖北第二師范學院藝術(shù)學院;
【分類號】：J905
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本文編號：1530576