姜文電影風格外國導演

① 如何看待姜文導演的作品風格

我覺得姜文導演作為我國電影中的極具代表性的一員,其導演作品僅有五部,但這些作品在我國影壇中起到了舉足輕重的作用.姜文的導演風格獨樹一幟,有其明顯的性格特徵,不被時代的潮流所影響,任性的做自己獨特的藝術電影,其導演創作的藝術水準早已超越電影本身的商業價值，本文以其近些年來創作的電影——《讓子彈飛》《一步之遙》為主,從導演創作出發淺析其電影中個性的導演風格。

姜文的作品不多，但是他是個有原則有堅持有原則的導演，不為了嘩眾取寵而隨意接拍電影，一旦接拍就認真負責竭盡全力地投入工作，他不唯利是圖，不為五斗米折腰，是個德藝雙馨的導演。

② 姜文 張藝謀 陳凱歌幾個導演 還有進幾年的新新導演 他們分別是哪個代表作 以及拍攝影片的風格特點

姜文，代表作《陽光燦爛的日子》《鬼子來了》《太陽照常升起》《讓子彈飛》
特點是影片具鮮明的時代特色、充滿雄性氣息、所含信息量豐富深刻真實。

張藝謀，代表作《紅高粱》《活著》《大紅燈籠高高掛》《英雄》
特點是影片強烈的色彩、大量的構圖背後，嚴格堅持了生活的真實。

陳凱歌，代表作《黃土地》《霸王別姬》《荊軻刺秦王》《梅蘭芳》
特點是影片風格沉重而犀利、平和而激越。

近幾年新興的導演比較著名的有
寧浩，代表作《綠草地》《瘋狂的石頭》《瘋狂的賽車》《無人區》
特點是影片擅長荒誕幽默的喜劇路線，從中反映生活的真實。

③ 急急急急急！求姜文所導演的四部電影的英文影評

《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 都說姜文導演的電影別具一格，他的電影有什麼特色

運用大量的小景，非常具有典型代表的色彩，鏡頭的組合運用非常的豐富，而且都是在幽默中摻雜著一些現實的問題。

⑤ 請教一下姜文的電影風格或其電影的特色麻煩詳細一點

姜文的電影如同他這個人一樣，非常具有其鮮明的個性，但這種個性下又含有極強的人性意義所在。他的第一部導演作品《陽光燦爛的日子》就把背景放在了文革期間這個極為敏感而脆弱的時期下，別的導演拍攝文革期間時總是習慣性的拍出與政治相關的主題與思想，而他卻另闢一條道路，去描述出那段黑白時期下絢麗般的少年回憶，於是人們就根本看不出這段歷史下的苦難與蒼白，對於裡面的孩子來說那段時間終究是陽光燦爛的，這部電影也正是上一代人的集體回憶，而對於不屬於那一代人的「晚輩」來說，它又像是一部我們對曾經的好奇與探索，不管我們是不是一代人，我們所有人的陽光燦爛的日子都是共通的，這部電影也是人們的集體共鳴。姜文的第二部電影《鬼子來了》，它是人性深度思考後的偉大傑作，日軍侵略我們，我們拍出了無數他們如何殘暴百姓，如何喪盡天良。而導演不是去否定他們的種種惡毒，而是把人性極為可怕的現實問題拋給了我們自己，我們那時候太多的人民是麻木的，懦弱的，我們總是一味的按照自己的思想去行走，我們總是在心裡順其自然的以為別人會按照自己的想法去行走，於是我們是最大的犧牲者！可以說，姜文看到了人性戰爭的本質所在，而絕不是僅僅表現在外面上的血腥與無奈。
他的第三部作品《太陽照常升起》，爭議最大，但爭議的問題有很可笑，圍繞著就是看的懂與看不懂，其實這是一個極為可怕的問題，這部電影所描述的其實就是男人與女人的愛，只不過他拍攝的是現實中愛的美好與醜陋的本性，這種美與丑沒有對與錯，因為現實就是這樣，姜文又一次用本質去講述了人性。
姜文的色彩應用你可以看看《太陽照常升起》就知道了。用一個網友的話是：美的一塌糊塗。
人性的獨特理解與深刻+色彩的夢幻性+荷爾蒙的激發性+看著來勁兒=姜文的電影性
在所有的中國導演里，他是最特別的，是最牛逼的！

⑥ 姜文導演的電影是什麼風格

在我個人看來，他的電影的景別帶有極強的主觀性，集中地體現了創作者與欣賞者之間的關系，即創作者是在「叫你看什麼」，還是在「隨你看什麼」。景別元素的運用，直接決定了影片的風格特徵。姜文電影大量運用近景、特寫等小景別，強調、誇張、放大地表現對象，來突出其戲劇化的特徵。

怎麼樣？如果喜歡我的回答的話歡迎給我留言和點贊吧！

⑦ 姜文的導演風格

其實姜文的硬傷在《陽光燦爛的日子》里已經昭然，姜文拍電影的片比非常之高，他每場戲會遠景、中景、近景都拍一遍，其實這說明他對電影鏡頭語言視點的理解沒有把握，導致最終的剪輯非常生硬、高低不平，但是第一人稱畫外音強有力的介入彌補了這方面的缺陷。《太陽》雖然四個段落都是全知全能的視角，但是敘述風格卻大相徑庭，第一段落的偽青春敘事《陽光》的痕跡很重，高空拋物式的鏡頭，廣角鏡頭的運用，欣快症般的移動速度都應該是姜文的標志，但是周韻關於瘋狂的表現顯然牽強沒有說服力。第二段落突然一下子跌入了cultfilm的形態，陳沖到底是個瘋子還是正常人搞不清楚。第三個段落又出現了一種畸形的三角慾望關系，但其實更像是姜文的那喀索斯夢境，一方面對個人陽剛氣質的極端放縱，但另一方面卻又給這種陽剛製造了一種不太現實的傷害。第四個段落回到了西部電影，那個山巔之上的巨手也許就是姜文的紀念碑山谷。倒並不是說風格的拼湊有問題，這個在特呂弗和戈達爾手裡簡直就是萬能靈葯，可是對於披著好萊塢式文藝大片的《太陽》卻變成了致命傷。

之前聽朋友講過說《太陽》是一部利比多過剩的電影，我相信這種利比多來自姜文個人對於身體的把握，來自於他對於電影語言的東挪西湊，而不是來自對電影本體的理解或者某種統一的生活意志和信念。如果說有一個統一的個人立場的話，我覺得有點值得所有關注這部電影的人好好考量，為何《太陽》里的女人都像色情狂或者瘋子。

雖然《太陽》缺點無數，但是已經高於國產電影平均水平好大一步了，如果每年有十部《太陽》這樣的電影，中國電影已經算萬幸了。