摘要
对平民生活和命运的关怀是冯小刚电影的一贯特色,2016年的影片《我不是潘金莲》把对平民情怀的思考更推进了一步。《我不是潘金莲》就其对平民问题思考的广度,更为宽阔;就其对当代中国问题的把握,更为深刻;就其对当代中国平民问题和社会问题的追究,更为一针见血。在近年市场化拜金大潮下,《我不是潘金莲》是难得一见的独特的、富有责任感的优秀之作,显示了冯小刚在艺术家的良心和市场化趣味中保持了一种难得的平衡。相比冯氏早期的平民叙事,冯氏近年的平民叙事发生了微妙的变化,那就是从纯粹的平民叙事向平民和国家社会叙事相融合的转变,在描绘平民生活和命运的故事中包涵了某种国家和社会的意义。
In mammonish tide and marketization in recent years,I am not Madam Bovary is a peculiar and responsible and excellent film,which shows Feng Xiaogang 's well balance between artist 's conscientiousness and marketization taste. Compared to Feng's ealy civilian narration,there appeared some delicate changes: from a pure civilian narration to an integration between civilian narration with national social,including a certain national and social meaning while depicting civilians' living and stories.
引文
[1]伊·皮洛,崔君衍.世俗神话——日常生活领域的亲电影性[J].世界电影,1987,(01).
[2]谭政,冯小刚.我是一个市民导演[J].电影艺术,2000,(02).
[3]刘震云.温故一九四二[M].武汉:长江文艺出版社,2012.