姜文电影风格外国导演

① 如何看待姜文导演的作品风格

我觉得姜文导演作为我国电影中的极具代表性的一员,其导演作品仅有五部,但这些作品在我国影坛中起到了举足轻重的作用.姜文的导演风格独树一帜,有其明显的性格特征,不被时代的潮流所影响,任性的做自己独特的艺术电影,其导演创作的艺术水准早已超越电影本身的商业价值，本文以其近些年来创作的电影——《让子弹飞》《一步之遥》为主,从导演创作出发浅析其电影中个性的导演风格。

姜文的作品不多，但是他是个有原则有坚持有原则的导演，不为了哗众取宠而随意接拍电影，一旦接拍就认真负责竭尽全力地投入工作，他不唯利是图，不为五斗米折腰，是个德艺双馨的导演。

② 姜文 张艺谋 陈凯歌几个导演 还有进几年的新新导演 他们分别是哪个代表作 以及拍摄影片的风格特点

姜文，代表作《阳光灿烂的日子》《鬼子来了》《太阳照常升起》《让子弹飞》
特点是影片具鲜明的时代特色、充满雄性气息、所含信息量丰富深刻真实。

张艺谋，代表作《红高粱》《活着》《大红灯笼高高挂》《英雄》
特点是影片强烈的色彩、大量的构图背后，严格坚持了生活的真实。

陈凯歌，代表作《黄土地》《霸王别姬》《荆轲刺秦王》《梅兰芳》
特点是影片风格沉重而犀利、平和而激越。

近几年新兴的导演比较著名的有
宁浩，代表作《绿草地》《疯狂的石头》《疯狂的赛车》《无人区》
特点是影片擅长荒诞幽默的喜剧路线，从中反映生活的真实。

③ 急急急急急！求姜文所导演的四部电影的英文影评

《The day with bright sunshine》
"The day with bright sunshine", adapted from wang's novel animal ferocity ", in 1994 the most popular Chinese focus on a domestic movies, jiang wen's first director, was only 16 years old in summer rain with the film in a corner MaXiaoJun won the Venice of the movie king title.
In the shadow of the aura, as a fan, I find it hard to not expect it proces. The resulting consequence is that after watching it I feel some lost. I didn't get imagined the pleasant sensation, or resonance, or moved. And still stay in memory religon, is it always dim tonal, is it diffuse ring the smell of hormone, is MaXiaoJun or sorrow or restless mood.
Forget is which people once said: "I see" the day with bright sunshine "not touched, because it is jiang wen's youth, not me."
This is probably the first time I have finished could not say it's the feeling well cause of right, memory I didn't so crazy, youth float in the sky of time always seems to be with quiet shadow, restless heart also cover up among them. But look at them in the together madness of the pillow fight, look them riding a bicycle in the streets and lanes dog pat, looking MaXiaoJun to prove yourself from tall chimney jumped down a full face of MeiHei also hey hey laugh, looked at him crazy in love with milan because she and crazy.I feel the body is a lack of character. Just because I don't have these memories and experiences, I body that was supposed to be youth release passion restless the factor were buried in most deep place, that his thought they don't exist. Wait until the similar movie will they aroused from a deep sleep. Then, the desire to explore desire and not experience regret will as the first not familiar with slowly comes dispersedly, and in memory left another a scenery line, a pair of be blotted out become the golden picture scroll, a refreshing music.
Yearning things will usually be subjective beautification, jiang and tried to restore memories also have the same place, and at this point, I found the fit with the film.

《The devil came》
Finally saw jiangwen banned public show of the devil come ", many people will be the film's ban for the film release commentary in the communist party keep anti-japanese, first and last, did not appear a party member image, thus caused dissatisfaction. But look at the film didn't know never because of this reason.
China's farmers is simple and take things as they are, they are many forces oppressed for two thousand years, the disposition is gentle wise and good. Can imagine, when the little devil did not slaughter the burnt, common people although understanding have unwilling, but it's still not rise to MingXiang stroke (and not to say that people will not patriotic, but in such a self-sufficient, closed and uncivilized period, "patriotic" or a false idea).
Tragedy is good things to see broken. This film is the result of the whole village GuaJia table in the fire of the devil disappeared in the butcher's knife, and Chinese Anti-Japanese War generals and let FuPi Japanese prisoners of war by all three son to have captured the little devil. This is how the Chinese people sad. Why such a vast land and large population of ethnic is an island country trample on the whole eight years, this film gave us some enlightenment. Most of the time, not someone else's ferity and powerful, but our own ignorance and self-mutilation.

《The sun also rises》
In fact the story of the film with the sun didn't matter. So, the sun is but finally, is also the biggest metaphor. Compared to use sex oppression to suggest depressive s, the sun at the end of the dot eyeball. The sun is but utopia .Oscar in narrative as a magic realism color story, but finally put the story placed in "the sun" below. This is the largest jiang ambitions, he still didn't give up his most eager to express the theme. Si kong-tu said, without a word, all will be merry. He can put the whole movie no one place pen and ink to critical sensitive content, but in the end a cyclotron, the whole story is in the expression of his critique.
Think of guangdong of "south window magazine title page once quoted a words: the sun every day is new. Yes, depressive s past, sun also born on, the sun rises as jiang wen's appearance. But once the sun has gone to annihilation, once the pure love, once the ideal and passion, had to be the youthful years, along with the new rising sun and the complete annihilation.
This is jiang, in a critical words are not (so film can one knife not to cut out), he still expressed his image.

《Let the bullets fly》
Finish see let bullets fly, the feeling is very is for force, feel from the beginning to the end, the thought with the blood boiling, happy, enjoyable, to end also have helpless and at sea, a good movie has the element, theme, purposive, plot, connotation... The film had. (though from the devil came to the film, more or less there is always a little akira kurosawa "seven samurai" traces)... This and von guide of hide everywhere, in government and people between two opposite side, both sides who also did not dare to offend, part sing people's army; Side and for public perfunctory of torsion under several different itch, jiangwen or the fluid, skin of that kind of hemorrhagic and man smell have not changed a bit, but this time we become more mature and strategic.As a pock-marked deal with yellow four lang, against the special talent and strategy, more against the man unique hemorrhagic and the pursuit of justice, freedom and personality and indomitable spirit. In the face of jiang in that administration of radio, film and television bastard; In the face of this movie circle, and finally achieved a victory over...
If our ideal in front of reality by the setback, can't we like jiangwen so, ten years rub a sword, but finally it grinding high degree of professional proficiency, a drawn and surprised the world. The world origin have no road, with legs, there is also a way. The whole country is not there can be no ideal, only is that you are willing to use how long, how many perseverance and how many to be difficult to complete and achieve your ideal...
Jiangwen, let us see the ideal and hope. And this kind of hope, not only should only existed in the film...

④ 都说姜文导演的电影别具一格，他的电影有什么特色

运用大量的小景，非常具有典型代表的色彩，镜头的组合运用非常的丰富，而且都是在幽默中掺杂着一些现实的问题。

⑤ 请教一下姜文的电影风格或其电影的特色麻烦详细一点

姜文的电影如同他这个人一样，非常具有其鲜明的个性，但这种个性下又含有极强的人性意义所在。他的第一部导演作品《阳光灿烂的日子》就把背景放在了文革期间这个极为敏感而脆弱的时期下，别的导演拍摄文革期间时总是习惯性的拍出与政治相关的主题与思想，而他却另辟一条道路，去描述出那段黑白时期下绚丽般的少年回忆，于是人们就根本看不出这段历史下的苦难与苍白，对于里面的孩子来说那段时间终究是阳光灿烂的，这部电影也正是上一代人的集体回忆，而对于不属于那一代人的“晚辈”来说，它又像是一部我们对曾经的好奇与探索，不管我们是不是一代人，我们所有人的阳光灿烂的日子都是共通的，这部电影也是人们的集体共鸣。姜文的第二部电影《鬼子来了》，它是人性深度思考后的伟大杰作，日军侵略我们，我们拍出了无数他们如何残暴百姓，如何丧尽天良。而导演不是去否定他们的种种恶毒，而是把人性极为可怕的现实问题抛给了我们自己，我们那时候太多的人民是麻木的，懦弱的，我们总是一味的按照自己的思想去行走，我们总是在心里顺其自然的以为别人会按照自己的想法去行走，于是我们是最大的牺牲者！可以说，姜文看到了人性战争的本质所在，而绝不是仅仅表现在外面上的血腥与无奈。
他的第三部作品《太阳照常升起》，争议最大，但争议的问题有很可笑，围绕着就是看的懂与看不懂，其实这是一个极为可怕的问题，这部电影所描述的其实就是男人与女人的爱，只不过他拍摄的是现实中爱的美好与丑陋的本性，这种美与丑没有对与错，因为现实就是这样，姜文又一次用本质去讲述了人性。
姜文的色彩应用你可以看看《太阳照常升起》就知道了。用一个网友的话是：美的一塌糊涂。
人性的独特理解与深刻+色彩的梦幻性+荷尔蒙的激发性+看着来劲儿=姜文的电影性
在所有的中国导演里，他是最特别的，是最牛逼的！

⑥ 姜文导演的电影是什么风格

在我个人看来，他的电影的景别带有极强的主观性，集中地体现了创作者与欣赏者之间的关系，即创作者是在“叫你看什么”，还是在“随你看什么”。景别元素的运用，直接决定了影片的风格特征。姜文电影大量运用近景、特写等小景别，强调、夸张、放大地表现对象，来突出其戏剧化的特征。

怎么样？如果喜欢我的回答的话欢迎给我留言和点赞吧！

⑦ 姜文的导演风格

其实姜文的硬伤在《阳光灿烂的日子》里已经昭然，姜文拍电影的片比非常之高，他每场戏会远景、中景、近景都拍一遍，其实这说明他对电影镜头语言视点的理解没有把握，导致最终的剪辑非常生硬、高低不平，但是第一人称画外音强有力的介入弥补了这方面的缺陷。《太阳》虽然四个段落都是全知全能的视角，但是叙述风格却大相径庭，第一段落的伪青春叙事《阳光》的痕迹很重，高空抛物式的镜头，广角镜头的运用，欣快症般的移动速度都应该是姜文的标志，但是周韵关于疯狂的表现显然牵强没有说服力。第二段落突然一下子跌入了cultfilm的形态，陈冲到底是个疯子还是正常人搞不清楚。第三个段落又出现了一种畸形的三角欲望关系，但其实更像是姜文的那喀索斯梦境，一方面对个人阳刚气质的极端放纵，但另一方面却又给这种阳刚制造了一种不太现实的伤害。第四个段落回到了西部电影，那个山巅之上的巨手也许就是姜文的纪念碑山谷。倒并不是说风格的拼凑有问题，这个在特吕弗和戈达尔手里简直就是万能灵药，可是对于披着好莱坞式文艺大片的《太阳》却变成了致命伤。

之前听朋友讲过说《太阳》是一部利比多过剩的电影，我相信这种利比多来自姜文个人对于身体的把握，来自于他对于电影语言的东挪西凑，而不是来自对电影本体的理解或者某种统一的生活意志和信念。如果说有一个统一的个人立场的话，我觉得有点值得所有关注这部电影的人好好考量，为何《太阳》里的女人都像色情狂或者疯子。

虽然《太阳》缺点无数，但是已经高于国产电影平均水平好大一步了，如果每年有十部《太阳》这样的电影，中国电影已经算万幸了。