黑色幽默迅雷下載篇一：黑色幽默

對(duì)黑色電影元素的延續(xù)與顛覆

[ 摘要] 從1985 年標(biāo)志性的黑色幽默電影《黑炮事件》到近年寧浩的“瘋狂系列”, 黑色幽默電影在我國已經(jīng)走過了將近30 年。中國特色的黑色幽默電影具有濃烈的道德感, 敢于直面社會(huì)現(xiàn)實(shí)。它保持著在日常生活中的外在表象, 卻又不乏諷刺和戲謔的內(nèi)在本質(zhì), 已經(jīng)深入到百姓的內(nèi)心。

[ 關(guān)鍵詞] 黑色幽默 嘲諷 情節(jié) 滑稽 [abstract]From 1985 trademark black humor movie \"the black cannon incident\" to \"crazy\" series, in recent years, ning hao black humor movie has passed nearly 30 years in our country. Chinese characteristics of black humor movie has a strong moral sense, dare to face the social reality. It keeps its outward appearance in daily life, but there is no lack of again the intrinsic nature of irony and joking, has deep into the heart of the people.

[key words] black humor irony funny plot

一 作品與理論簡介

兩桿大煙槍敘述了“

湯拇”從小就個(gè)玩牌高手所以與三個(gè)好朋友“肥皂”、“艾迪”及“培根

”決定各湊五千英鎊讓湯姆去參加一場黑社會(huì)高額賭金牌局

湯姆從頭到尾不知情

其實(shí)整個(gè)

賭局根本個(gè)大騙局于湯姆不但輸光所有錢

還倒欠賭場主人十萬英鎊如果湯

姆一星期內(nèi)不能還清手指

將不保

湯姆一伙想盡各種可能湊錢方法最后決定搶劫隔壁

毒

梟

而隔壁毒梟同時(shí)也正計(jì)劃搶劫們毒品供

應(yīng)商湯姆一伙計(jì)劃聽起來十分容易

但執(zhí)行時(shí)卻狀況百出臨檢

車輛警察突然出現(xiàn)湯姆一伙人不得不綁走

《瘋狂的石頭》敘述了 重慶某瀕臨倒閉的工藝品廠在推翻舊廠房時(shí)發(fā)現(xiàn)了一塊價(jià)值連城的翡翠，為經(jīng)濟(jì)效益特此搞了一個(gè)展覽，希望賣出天價(jià)以改善幾個(gè)月發(fā)不出工資的局面。不料國際大盜麥克與本地以

道哥為首的小偷三人幫都盯上了翡翠，通過各自不同的“專業(yè)技能”一步步向翡翠逼近。他們?cè)谙嗷ゲ鹋_(tái)的同時(shí)，又要共同面對(duì)工藝品廠保衛(wèi)科長包世宏這一最大的障礙。在經(jīng)過一系列明爭暗斗的較量及真假翡翠的交換之后，兩撥賊被徹底的黑色幽默了一把。

二2者的差異

一、情節(jié)緊湊，劇情精巧

《兩桿大煙槍》和《瘋狂的石頭》

兩部電影中，巧合和意外在電影中

比比皆是。

故事情節(jié)的設(shè)置上，編導(dǎo)都別

出心�！秲蓷U大煙槍》前一個(gè)小時(shí)

是一個(gè)謎語，后一個(gè)小時(shí)是謎語的

答案。由此一出笑料不斷的鬧劇正

式開演。�！动�

狂的石頭》在一定的程度上也是一

樣的，都是給人一種緊張、亢奮的

感覺。

《瘋狂的石頭》在一定程度上運(yùn)用了較生活化的語言以及各種表現(xiàn)手法，以自我調(diào)侃和冷嘲熱諷的方式表現(xiàn)社會(huì)現(xiàn)實(shí)問題和各種看法

使之成為“中國特色的”，較“本土化”。反應(yīng)現(xiàn)實(shí)生活的，雖然搞笑，但是卻有著很深的社會(huì)意義，可以說是“含淚的微笑”。而《兩桿大煙槍》則是黑色的幽默，雖然也是反應(yīng)社會(huì)的，但是較深的生活化，還是有較多的“電影性質(zhì)”的東西

三、音樂畫龍點(diǎn)睛

《瘋狂的石頭》將一些耳熟能詳?shù)囊魳仿约犹幚碜鳛楸尘耙踩〉昧艘庀氩坏降男Ч�，影片在快速的剪切和場景轉(zhuǎn)換中更是揮發(fā)出極具創(chuàng)意的快感。影片人物角色的設(shè)置相當(dāng)眾多，彼此關(guān)系相互交織。他們往往是螳螂捕蟬黃雀在后，環(huán)環(huán)相扣，令情節(jié)總是在不可思議地發(fā)生變化，令觀眾能長時(shí)間將注意力放在影片，并且伴以不停地大笑。 《兩桿大煙槍》則是從頭到尾都在配合畫面播出非常刺激的音樂，英倫搖滾，重金屬，朋克，爵士一起收錄到其中，真的是讓眼睛和耳朵一起過隱，那種故事結(jié)構(gòu)，拍攝手法確實(shí)是讓人們大開眼見。

四、語言為影片大大加分

《兩桿大煙槍》所有演員們操著濃重的倫敦口音，夾雜著無聊的，有趣的英式粗話，請(qǐng)留意對(duì)白中黑色幽默的成分。

《瘋狂的石頭》則是融入濃厚的中國地方特色，四川話、山東話、廣東話等等，是整個(gè)影片有了一種張力，一種很強(qiáng)的特色。

三 結(jié)論

兩部作品有很多異曲同工之

處。值得一提的是，作為寧浩首部商業(yè)電影，影片

對(duì)《兩桿大煙槍》敘事結(jié)構(gòu)的模仿和借鑒，做的還

是相當(dāng)成功的。即承襲了回環(huán)交叉的敘事方式，又

創(chuàng)制出獨(dú)有的風(fēng)格，《兩桿大煙槍》作為蓋里奇的處女作，

足見他在此類敘事上的非凡天賦�！动偪竦氖�頭》

因其線索較少，結(jié)構(gòu)也相對(duì)簡明，故可以說是對(duì)蓋

里奇的學(xué)習(xí)和模仿。這當(dāng)然未嘗不可，因?yàn)樵陔娪?/p>

的百年發(fā)展史上，對(duì)經(jīng)典鏡頭、結(jié)構(gòu)及手法的借鑒

與重現(xiàn)隨處可見，況且寧浩也確實(shí)做到了“取其精

華樹我特色”。從這個(gè)角度來說《瘋狂的石頭》確

是不可多得的優(yōu)秀影片�！动偪竦氖�頭》的成

功歸根結(jié)底是有一個(gè)黑色幽默的精

彩劇本，這也許是國產(chǎn)小成本電影

一個(gè)新的出路。

參考文獻(xiàn)

鄭克魯 董衡巽 《黑色幽默 魔幻現(xiàn)實(shí)主義》

橘玲 《黑色幽默經(jīng)濟(jì)學(xué)》

孔慶東《黑色的孤獨(dú): 北大醉俠的冷面幽默》

[3] 第282 頁 《電視批評(píng)理論研究》時(shí)統(tǒng)宇 中國廣播電視出版社 2003 年9 月版

[5] 南野 邵清風(fēng) 俞潔《影視作品解讀》 77~89 頁

[6] 蓋里奇訪談錄

黑色幽默迅雷下載篇二：西方黑色幽默電影對(duì)中國電影創(chuàng)作的影響(英文版)

The influence of Western black humor movie to Chinese film creation

[Abstract] Effect of foreign films in the black humor of the Chinese film is

straightforward. Several movies with black humor elements emerged in China, although the black humor behave different, there is a common cultural background, cultural orientation, style characteristics, as well as a film director in common human feelings, which no one can not do without Western black humor influence of movies.

[Keyword] black humor influence movie

The emergence of Western-style movies with black humor, though, and literature of black humor appear at different times, but the essence is the same as the background. Westerners after two World Wars, spiritual beliefs severe crisis, the existence of God become confused. Fast Western economies after World War II prosperity and the traditional moral turpitude was serious.

In the 1960s the United States, the material is highly developed, social serious

deformities. Vietnam War, the development of the television industry, making Vietnam become a live, but this time it just out of the clouds of World War II. There are also political persecution of McCarthyism, the black civil rights movement entrenched apartheid led to universal sexual and gender discrimination resulting in a flood of feminism and downs, violence, murder, rape growing, hippies flooding, when the world is full of fall wrong. Western film noir reflects precisely this social thinking reverberation effect. Western film embodied in black humor, the most important are the following several directors:

First, Quentin Tarantino ?

"Pulp Fiction" completely subvert the traditional concept of film narrative, telling the reality of things but we are not able to express the reality itself, each story from the side of the film's theme was explained by the expression of the reality and the absurd reality of the nearest and most profound. Quentin's black humor to make some of the original horror story becomes dirty or bloody ridiculous, but after that we'll feel a little heavy laughter.

Second, the Coen brothers

Coen Brothers film often has the spirit of philosophical speculation, is an expression of absurd reality, justice and goodness is often not the evil opponent. For example endless bloody and violent "Old Men" in the show is a show of confidence crisis. Rapid change in the external world of time and space has led to people's confusion, loss of religious feeling, leading to self-awareness of decay. In this non-mainstream works director brothers, characters, character, story, these elements are crucial

Hollywood lost the original meaning, and become the Coen brothers describe environmental and historical weight.

Third, Kusturica

Director of the former Yugoslavia Kusturica movie is full of his homeland Yugoslavia mixed feelings, "underground" is the masterpiece of the most famous movie. No

matter what a state and national history were originally serious and cruel. The director put their interpretation seen as a farce, the metamorphosis, desire, deceit, humanity, all melting into the period of the war epic farce. History can not be changed, a lot of memory fragments left behind is impossible to put together the broken marks, which are specific to the product of that era, even then anger and then lost, but also show a sense of powerlessness and self-deprecating heart collapse.

Fourth, the Woody Allen comedy ?

? Woody Allen's comedy film, gray humorous comedy about post-modern city mental distress. His film comedy performance indicators under the surface lurks a certain tragic theme. By the United States "Beat Generation", a large number of works of black humor, new journalism, fiction and the European Jewish, Russian writer, the impact and the French New Novel Theatre of the Absurd, black humor, and his works painted with the new artistic means objective world, often with cynicism, cynicism and cruelty and absurd allegorical artistic image, in the structure of "give order to chaos" approach, the funny stuff and sublime humor juxtaposed serious things, factors and tragic comedy side by side, on the order of time staggered overprint, resulting in strong contrast to the artistic effect and blend of joy and sorrow. ? Woody Allen's first film, "What's the matter, Tiger Lily? "Already reflect this tendency.

The impact of foreign films in the black humor of the Chinese film is direct, the development of Chinese film centuries and foreign films are inextricably linked.

Especially the brilliant Chinese film several times, this link even more closely. Reform and opening up of Chinese film-making, a group of filmmakers from college out of school in the technique works out, this study changed the traditional form of Chinese film, the birth of the fifth generation of filmmakers and their work, this study It is

successful, so that Chinese film attracted attention in the world cinema. Black humor movies first fortune in the fifth generation director works.

After the film's black humor China first appeared in reform and opening up, Huang Jianxin director of "Black Cannon Incident,""dislocation" in the use of black humor, the film has aroused strong repercussions critics. After the founding of New China's reform and opening up to China and the world before long isolation, after the reform and opening up to foreign latest thoughts started to affect Chinese intellectual. Chinese filmmakers began to learn the advanced shooting skills, the Chinese film began to rise again on the road. After the Cultural Revolution in Film Academy's director Huang Jianxin has never shied away over their own learning enthusiasm of Western theories and ideas and ambition to shoot a different movie. He said: "The end of the Cultural Revolution in 2078, is popular among students theoretical Reader

everyone to read works of philosophy, sociology writings, various interdisciplinary I remember when there was a series, describes the various. school, what semiotics, Freud, etc. have a bunch of people around me. So when I was shooting a movie, you want a new era, a new breakthrough in film language systems ...... . "In the film, when it comes to contemporary China, he said:" I think now the Chinese film behind,

language system behind China after the Cultural Revolution on the grounds that the film than in the West behind the decades, perhaps three decades Chinese filmmakers. with three to five years to catch up with the world of film. the late 1980s with the first half of the 1990s, the standard Chinese language film is synchronized with the world, but precisely in this period, the development of digital technology, took over the language of cinema Authoritative Discourse and mystery to break the "about" Crazy Stone, "when he said:" there is now a "Crazy Stone" We all feel very strange, to put this movie into Hong Kong, they said ten years ago that we do not in this movie it? In other words, our film language behind. "2006's" Crazy Stone "turned out, its distinctive black humor style caught the hot Chinese film critics and the general audience, "black humor" Following Huang Jianxin's early films once again become the buzzword. Many commentators see the "Crazy Stone" to empty a large gathering of Chinese film market surprises, but also criticized the "Crazy Stone" over emulate the British film "Two Smoking Barrels." Retorted this Ning Hao said: "China is an open-minded nation, why do not you learn from all the Chinese film source can be found in a foreign film, I think also to learn and continue to learn, I believe lid ? Ritchie?. can not shoot this film, and there are too many things in China, local, closely linked to China funny and sad reality of life, only the Chinese people can understand. "Ning Hao comes to the point is that" Crazy Stone "is already a section very Chinese film, he did not deny his own film on Western black humor film reference.

I believe that Chinese movies on treatment of black humor is not mature, nor form a very strong black humor film forces. In the 1980s, the film is mentioned only Huang Jianxin With colors of black humor, even if his films, is also limited to "Black Cannon Incident" and "dislocation" after "dislocation", the film's black humor Huang Jianxin He began to fade, the black humor transmutation. On this issue Rao Shuguang says: "But Huang Jianxin's mind is clear, he knew the story was not absurd to the absurd, the ultimate goal is to shine into reality, can be described as the first in the air, feet on the ground since the absurd to the extreme there are. a large part of the audience did not accept, Huang Jianxin and to adjust their creative tactics - to the "ambush" Huang Jianxin absurdity in "The Black Cannon Incident" and "dislocation" in the performance of daily life has penetrated the same as plain yet quietly into the narrative. And the "Who Cares", drama and absurdity intertwined, allowing viewers to experience a

collage of sensual pleasure and games. "When the" stone crazy after "appears, to my surprise just shows, "Crazy Stone" Case of. We look at the first decade of the new century, to "Crazy Stone" before the movie, there's Chinese film with black humor, and not difficult to find there are a few: "glorious anger", "Missing Gun "" Live "and" Black Cannon Incident. " Although black humor behave different, there is a common cultural background, cultural orientation, style characteristics, as well as a film director

in common human feelings these films. No one is inseparable from the effect of these western black humor of the film. Chinese film has a long way to go.

黑色幽默迅雷下載篇三：100部經(jīng)典好看的韓國電影大全

100部經(jīng)典好看的韓國電影大全

系列

1、殺人回憶（它證明了電影可以做到零缺憾）

2、老男孩 （驚人的黑色驚人的暴力驚人的浪漫）

3、薄荷糖 （以完全倒敘的方式將殘酷最大化）

4、收件人不詳（金基德式的草木含悲）

5、八月照相館（你會(huì)遭遇有生以來最溫柔的夏天）

6、共同警備區(qū)JSA（樸贊郁把主旋律拍出了另類的氣質(zhì)）

7、朋友（找回看港產(chǎn)江湖片的感覺）

8、實(shí)尾島（亞洲商業(yè)大片完全范本）

9、孝子洞理發(fā)師（韓國版《阿甘正傳》）

10、死不張揚(yáng)離奇失魂事件（媲美《淺墳》）

11、加油站襲擊案（焊接憤怒與有趣）

12、生活的發(fā)現(xiàn)（所謂生活所謂男人）

13、春夏秋冬又一春（拍出了很多人理想的人生境界）

14、美麗秘語（如初戀般簡約，打字者注：動(dòng)畫電影）

15、生死諜變（有佳句、佳人、遂成佳章）

16、六人視線（韓國風(fēng)情畫。打字者注：由6個(gè)導(dǎo)演應(yīng)政府要求拍攝關(guān)于人權(quán)短片集）

17、快樂到死（看倫理片如何演變成犯罪片）

18、醉畫仙（美就是這部影片的全部內(nèi)涵）

19、我的野蠻女友（人人都愛全智賢）

20、回家（溫柔一刀）

21、我要復(fù)仇（殘酷而且絕望，但不像《割》那樣否定人性。打字者注：割就是CUT）

22、春逝（哀而不傷，平而不淡，誕生了又一個(gè)有關(guān)巴士的愛情理論）

23、追訪有情人（風(fēng)格化的愛情電影，兼負(fù)探討電影本質(zhì)的使命）

24、情事（清潔屬于通俗理論范疇，但情欲心理的營造扣人心弦）

25、周末同床（最輕松愉快的韓國色情電影）

26、薔花紅蓮（標(biāo)志著金知云恐怖美學(xué)已經(jīng)完全成熟）

27、薩瑪利亞女孩（金基德風(fēng)格全面內(nèi)斂的第一部作品）

28、漂流欲室（用一種毀滅一切的方式，證明了愛是唯一崇高的東西

29、綠洲（某些過于直白的鏡頭讓人幾度遮掩蒙混，看過卻無法忘卻）

30、嫉妒是我的力量（其實(shí)片中誰都沒有力量，導(dǎo)演以平實(shí)的手法賦予故事哲學(xué)思考）

31、塑料樹（幾乎沒有裸露鏡頭，但暗潮洶涌的性角力，讓人覺得心悸與危險(xiǎn)）

32、愛的肢解（開放式懸疑，看似漏洞百出，對(duì)它真相的討論至今未休）

33、春香傳（林澤權(quán)把一個(gè)傳統(tǒng)戲劇故事拍得活潑且可愛）

34、夏雨燈（關(guān)于夢(mèng)想和夢(mèng)想的不可挽留）

35、無處藏身（片中“四十臺(tái)階”殺人案拍得詩意昂然，成為韓國電影經(jīng)典一幕）

36、綁架門口狗（相信片名給你的第一感覺，是一部不讓人失望的黑色幽默電影）(來自:www.newchangjing.com 蒲公英文摘:黑色幽默迅雷下載)

37、豬墜井的那天（危險(xiǎn)的日常生活）

38、太極旗飄揚(yáng)（過于煽情的戰(zhàn)爭片，對(duì)《兄弟連》的成功模仿，值得一看）

39、茅蠆王（熱情奔放，創(chuàng)意無限，宋江浩憑本片奠定一線男星的地位）

40、光復(fù)節(jié)特赦（肖申克的救贖 跟 警察與贊美詩 二合一的監(jiān)獄雙重奏）

41、犯罪的重構(gòu)（犯罪過程和動(dòng)因浪漫無比，劇情千頭萬絮，精彩紛呈）

42、花之島（將商業(yè)元素壓縮至最低的純藝術(shù)片，全片用DV拍攝但畫面干凈明亮）

43、女高怪談（既有深度又有懸念的恐怖電影，帶出韓國國內(nèi)對(duì)升學(xué)壓力的討論）

44、貓瞇少女（幾個(gè)剛?cè)肷鐣?huì)的畢業(yè)少女的不同經(jīng)歷，手法寫實(shí)）

45、開心見性（三個(gè)女人在落地窗前豎起雙腿的一幕感人至深，女權(quán)電影） 46、301/302（心領(lǐng)神會(huì)地描繪了女性對(duì)食物愛恨交集的情緒）

47、公路電影（如同春光乍瀉，它其實(shí)只講述了一個(gè)兩個(gè)人的故事）

48、海岸線（張東健的出現(xiàn)讓人勿以為這是一部戰(zhàn)爭片，其實(shí)它深刻探討了人性）

49、壞小子（最具金基德“瘋狂人格”的情色片）

50、江原道之力（開頭沉悶粗糙，后漸入佳境，最后給你無法面對(duì)的事實(shí)）

51、哦，水晶（探討并嘲諷了處女這一說）

52、拯救綠色星球（重新解釋達(dá)爾文進(jìn)化論，大膽而瘋狂）

53、美人（故事幾乎空無一物，但若講到韓國情色電影唯美派，則又以本片為代表）

54、選擇（表現(xiàn)在韓監(jiān)獄關(guān)押的朝鮮間諜，對(duì)他們信仰的尊重，使本片獲得了尊重）

55、送還（紀(jì)錄片，表現(xiàn)被遣返的朝鮮間諜，達(dá)到了藝術(shù)片的效果）

56、愛的蹦級(jí)（用一種生硬的姿態(tài)和一個(gè)生硬的故事，將你硬生生打動(dòng)）

57、我們的畸形英雄（人心與政局相互隱喻。打字者注：本片拍攝于韓國電影審查制度完全解禁前）

79、火山高（CG出色，故事一般）

80、太白山脈（以兄弟情隱喻韓朝關(guān)系，打字者注：林則權(quán)94年作品，亦拍攝于韓國電影審查制度解禁前）

81、人民公敵（韓國版《野獸刑警》，叫好又叫坐。打字者注：今年有續(xù)集《又一個(gè)人民公敵》）

82、約定（早期從香港舶來的黑幫愛情片）

83、單身貴族（難得的為成年人而拍的愛情小品，細(xì)膩有趣）

84、愛的色放（以封閉空間投射大環(huán)境，有《夢(mèng)想家》之影子但不及后者成熟）

85、戀愛小說（打字者注：向左愛向右愛 李銀珠生前作品）

86、發(fā)達(dá)不用本錢（賣保險(xiǎn)的最高境界，以肉身試車輪，瘋狂爆笑）

87、瘋狂大電影（片如其名，BT餓搞，但卻有其含義）

88、了解我的女人（如果你有耐心看完，這是一個(gè)非常巧妙的愛情故事）

89、中毒（后半部分對(duì)任務(wù)心理的捕捉刻畫尤其敏感豐富）

90、丑聞（畫面與故事格調(diào)不成正比）

91、麥竹街殘酷史（韓國一代人的青春與成長）

92、色即是空（打字者注：用得著我說么？）

93、觸不到的戀人（停不了的愛）

94、蜘蛛林（犯罪嫌疑電影，氣氛凝造出色。打字者注：還沒看懂）

95、戀戀春季（簡單精致，斐斗娜的出色表演提升了電影質(zhì)量）

96、笨狗（一個(gè)傻小子的成長故事。打字者注：主演是武士和橡皮擦的男主演----鄭宇成）

97、誰都有秘密（洞悉女人戀愛時(shí)心理的上乘教科書）

98、新羅月夜（笑料飽滿有延續(xù)性，表演出采）

99、YMCA棒球隊(duì)（韓國第一支棒球隊(duì)的故事，簡單溫暖）

100、勝者為王（一部野心和酷都沒有完全做到位的黑幫片，但影片主要角色日后都成為一線明星）

相關(guān)熱詞搜索：迅雷 黑色幽默 下載 黑色孤兒迅雷下載 黑色星期五迅雷下載