代写assignment-导演王家卫的电影

代写assignment-导演王家卫的电影。如今,许多都市人都熟悉香港著名导演王家卫的电影。作为一个运用时间和空间来产生矛盾精神的后现代导演,王家卫以自己的方式诠释了现代人对生活的困惑以及他们所承担的各种责任和压力。通过对人物的叙述,他讲述了一种城市中被异化的情感和对过去的回忆,给观众一种悲伤而美好的感觉。他让观众在不知不觉中全神贯注于他的电影,并思考他们所生活的城市环境。在翻拍和复制的世界里,王家卫是一位相信利基的导演,他不仅以最令人愉悦和感人的方式展现了电影的非主流方面,还刻画了电影角色之间的情感联系(Lalanne, 1997)。在他的作品《狂野的日子》和《幸福的日子》中,分别可以看到儿子和母亲或两个情人之间的关系。他研究的是人的方面,特别是人与人之间的复杂关系,这些关系是人们通过不进行语言交流而建立起来的。在王家卫的作品中,人物不表达自己对他人的感情。

The films of Karwai Wong turn to literature, which is most directly embodied in monologues and voice-overs, appearing in almost all of his films alternately. For instance, the killer shows his concern about the intimate and estranged relationship with his partner who is like his lover through lyrical internal monologues in Fallen Angels (Thanouli, 2015). The theme of estrangement and communication is highlighted through making a comparison of two people’s indifference and space-time dislocation in reality as well as two people’s desire and intimacy in psychological space. The external story of killers becomes an expressive form. What attracts people more is still the internal psychological space of the film.
The film Ashes of Time displays the role of monologues and voice-overs to the fullest. The mainland film critic Guo Xiaolu called Ashes of Time as “a voluble self language system”. This film not only fully incarnates lonely, narcissistic, divisive, persistent or innocent psychological states of every character through monologues, but also “turns dialogues into monologues” so as to shorten the distance with narratage.”
Just as what Pan Guoling and Li Zhaoxing said when they analyzed this film, “In nearly all the dialogue scenes, the other side of a dialogue is concealed in an obscure shallow view (Regarding the dialogue between Huang Yaoshi and Ouyang Feng, Murong Yang mistakes the words of Ouyang Feng as those of Huang Yaoshi) or cut out of sight of the view frame (Ouyang Feng promotes Hong Qi to wear the shoes to villagers and sister-in-law standing by the window talks to Huang Yaoshi). Both sides of a dialogue never look straight at each other. Hollywood-style front and back shooting tradition of dealing with dialogues is broken. In the end, voice-overs, dialogues, monologues or narratage become the internal monologues of characters. Internal monologues which are used to present the inner consciousness of characters in literature create a kind of unique literariness in the films of Karwai Wong.”
In the eyes of Karwai Wong, the long personal monologues of protagonists are also a kind of dialogues, namely dialogues between self and inner self. “The real life of individuals can be understood only when dialogues permeate into it and only that answers and freely reveals itself.” The reason is that the subjective consciousness of people originally includes contradiction and multiplicity, which mainly come from the dialogical relationship of people with others (Biancorosso, 2013).
In reality, people can reveal others, grasp the hearts of others and understand others only by facing them and talking with them. When all of these go into self-consciousness, the dialogicality of self-consciousness is certainly formed.
These kinds of dialogues cover mainly two forms of expression, namely the contradictory conflicts of inner self and taking the consciousness of others as an opposite dialogue of the inner heart. People just discover themselves through communicating with and exploring the reality and self.

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