《长津湖之水门桥》:类型、情感与艺术表现的挑战性及其意义

The Battle at Lake Changjin 2: The Challenges and Significance of Genre, Emotion and Artistic Expression

《长津湖之水门桥》具体而微,将暴力美学极致化与浪漫化,为战争片的视听语言创造带来了新的气象。通过类型演绎、技术加持和细节刻画,使在极端环境下的战斗进程与人物典型的一致性要远高于其他环境下的一致性。在扁平人物形象与圆形人物形象之外塑造特定环境下的局域人物形象时,在纯主色之外羼杂了局域的色块部分,因而极具表现效果。重视主观真实的表现主义式的突出和强烈,把历史素材改造成为一个诗篇,展现了这部重点主题影片创作的挑战性及其意义。

The Battle at Lake Changjin 2 zooms in on detailed events under the greater context of war, romanticizing and taking the aesthetics of violence to an extreme. It adds to the creation of audiovisual language for war films. Through genre interpretation, technological support and detailed portrayal, the consistency between the battle process and the individual character in extreme environments is much higher than in other environments. In between flat characters and the well-rounded characters, a partial and distinct character image in a specific environment is shaped and presented to the audience. Beyond the main solid color scheme, color blocks spread across different regions mix up the palette, forming a more expressive impact. It transforms all the elements of reenactment into new expression, attaching importance to the prominence and intensity of subjective and true expressionism, and transforming historical materials into work of art. Many endeavors of this film show the challenges and significance of creating such an important themed feature film.