困惑、反思、神圣、抑或诗意的栖居——镜头后“静默伫立”的田壮壮

田壮壮是＂第五代＂导演的代表人物,《猎场扎撤》、《盗马贼》、《德拉姆》三部影片是其以西南边陲为题材而拍摄的重要作品,无论是其80年代还是本世纪初的两次＂出离＂和＂走向＂,田壮壮的电影始终都以它高度＂静默＂的语言视角、独特的影像题材,沉静地执着于边缘处。在他镜头下的＂民族＂,我们看到的是欣赏、尊重、包容;在他展现的＂宗教＂中,我们可以体味到困惑、矛盾,但也可以发现他对信仰的体认——＂敬畏、给予和施舍＂;随着他边缘处执着的行走,我们还看到了平凡而尊严者的静默的＂栖居＂。总之,田壮壮的电影,给我们提供了一个介于多种文化之间而又静默直观的难得的视野。

A Talk on Tian Zhuangzhuang Who "Stands Silently" behind the Camera Lens

Tian Zhuangzhuang is a representative of ＂the 5th generation＂ directors,whose three keynote movies are themed on the southwestern frontier of China. His movies have always silently persisted in his frontier themes by way of their ＂silent＂ linguistic perspective and unique image subject-matters,be they concerned with the two ＂departure＂ and ＂orientation＂ in the 1980s or the early 21st century. By way of his camera lens,one can discern in ＂nationality＂ appreciation,respect and forgiving,while in ＂religion＂ can be found confusion,contradiction as well as his acknowledgement of faith— ＂reverence,rendering and charitable offering.＂ Moreover,an ordinary but respectable person＇s silent ＂sojourn＂ can be noticed by following his persistent focus on frontier themes. In short,Tian Zhuangzhuang＇s movies have provided us with a rare view for alternating between various cultures and for silent observation.