物哀之美与小津安二郎的电影

Mono No Aware and Films of Yasujiro Ozu

小津安二郎的电影多围绕家庭题材,深受日本物哀文化影响。他把自己称为"电影的小导演"。正是这样一位"小导演",用融融温情来展现普通百姓生活中的喜怒哀乐。小津安二郎常常将"人性"这一抽象的主题转化为具体的"情感",并赋予"物哀之情",在影片中以具体的形象和事件将其毫无保留地展现,以此来表达对于人生、亲情的独到见解。以小津安二郎的《东京物语》和《秋刀鱼之味》两部影片为例,来分析小津安二郎电影中所传达的物哀之情。

The films of Yasujiro Ozu mostly centered on family themes and were deeply influenced by the culture of “mono no aware” in Japan. He called himself “the little director of the film”. It is such a “little director”, who showed the daily joy and anger of ordinary people in his films with his mellow warmth. In the course of his creation, He used to convert the abstract theme “humanity” into concrete “emotion”and endow it with the “mono no aware”, unreservedly displaying specific images and events in the films to express his distinctive views of life and familial affection.In this passage, the “mono no aware” in the films of Yasujiro Ozu is analyzed with Tokyo Story and Widower as examples.