本文選題：《老炮兒》 + 觀念　； 參考：《電影文學》2016年24期

【摘要】：觀念是電影的靈魂,故事是電影的血肉。在具體的作品中,觀念和故事的關系呈現(xiàn)為復雜微妙的消長,造成觀念與故事的沖突�！独吓趦骸烦捎谟^念,敗于觀念。觀念大于故事的問題,導致了影片一系列的失誤和敗筆,包括"教訓小偷""鴕鳥出籠""一廂情愿的和解""大團圓式的結局"等�！独吓趦骸返牡檬г僖淮斡∽C了,處理好觀念與故事的沖突對電影文學創(chuàng)作的特殊影響和意義。觀念易得,故事難講。補齊講故事的短板,中國電影的水平和質量會有更大的提升。
[Abstract]:The idea is the soul of the film, the story is the flesh and blood of the film. In the concrete works, the relationship between the idea and the story is complicated and subtle, resulting in the conflict between the idea and the story. The idea is greater than the story, leading to a series of mistakes and failures in the film, including "teaching the thief", "the ostrich out of the cage," wishful reconciliation, "the happy ending", and so on. The gains and losses of the "Old Gun" have been confirmed once again. Deal with the conflict between ideas and stories on the special impact and significance of film literature creation. Ideas are easy to come by, but stories are hard to tell. Fill the story of the short board, the level and quality of Chinese films will have a greater improvement.
【作者單位】： 哈爾濱學院人文學院;
【分類號】：J905
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本文編號：1954468