谢晋

试论谢晋电影的接受美学特征

On the Aesthetic Features of the Movies Conducted by Xie Jin

男性权威话语情境下的女性被述&论谢晋影片中的女性形象

On the female images in the films directed by Xie Jin

因此谢晋电影总是能站在历史舞台的聚光灯下，获得不断的鲜花和掌声。

S always on the spotlight in the history of Chinese movie .

谢晋电影叙事主题的再解读

On the Re-explanation of the Narration Themes of Xiejin ′ s Movies

第三章，谢晋电影类型化的语言叙事策略。

Chapter Three deals with the narration language strategies of Xie Jin-type movies .

历史的讽刺力&谢晋遭遇了蝴蝶效应之后

A Satiric Power of History & After Xie Jin Encountered the Butterfly Effect

第四章，谢晋电影类型化的价值功能。

Chapter Four focuses on the value functions of Xie Jin 's movie .

谢晋&20世纪中国主流电影的杰出代表

Xie Jin : An Outstanding Representative of Chinese Mainstream Movie in the 20th Century

谢晋：中国电影黄金时代的艺术高峰

Xie Jin : the Artistic Peak in the Golden Age of the Chinese Film

《芙蓉镇》可以说是谢晋最具代表性的作品。

" Furong Town " may say that is Xie Jin the most representative work .

谢晋电影始终是中国当代电影发展史上主流叙事体的当然代表。

Xiejin ′ s movies always represent the artery narration styles in the history of Chinese modern movies .

陈冲首部主演的电影是由著名导演谢晋执导的《青春》。

Joan 's first starring role was in the movie Youth directed by the famous veteran director Xie Jin .

谢晋的名字已经作为近代中国电影史上现实主义的象征。

Xie Jin 's name itself has been a synonym for realism in Chinese films in the past several decades .

震撼人心的叙述与叙述策略的震撼&对谢晋电影大众性的再关注

On Exciting Narration and Excitement in Narrative Strategy & More Attention to the Popular Character of Xie Jin 's Films

1977年适逢著名导演谢晋拍摄影片《青春》，初登银幕便受到了观众的好评。

In1977 , Joan CHEN gained wide popularity in her first film YOUTH , directed by the famous director , Xie Jin .

另据透露，谢晋对该剧男主角的初步意向是北京人艺的濮存昕。

According to other sources , the leading male role will be taken by an artist from Beijing , Puk Chuan Ying .

谢晋电影是在新中国的政治意识形态起主导作用的历史条件下的产物。

XIE Jin 's films resulted from the historical context of New China after 1949 when political ideology became the dominant function .

听到噩耗后，当即书写了另外一幅字“丰功伟绩，谢晋导演永垂不朽”。

After hearing the sad news , wrote other character immediately " the great achievements , Director Xie Jin has been immortal " .

谢晋电影创作的三个阶段均有其代表性的作品，这些具有代表性的影片体现了中国电影伦理情节剧传统的最高成就。

His three phases of creation all have masterpieces , which represent the highest peak in the film creation of the Chinese ethic melodrama .

相信谢晋尢其感动：他在一部电影《女儿谷》（落难俏佳人）中起用了赵薇。

Xie Jin must have been particularly moved : he hired Zhao to star in a movie , Nu Er Gu ( Penitentiary Angel ) .

本文仅从谢晋影片的史诗风格入手，以一种皈依文本的视角剖析其潜在的史诗意识和整体建构。

The paper focuses on the epic style on the basis of his contexts to explore the epic consciousness and integrated construction in Xiejin 's movies .

与之相应，谢晋电影通过影像语言的缝合策略，弱化观众的自我意识，寻求电影意识形态传递的最佳效果。

Correspondingly , Xie 's movie weakens the self-consciousness of the audience through the strategy of Suturing in video language , seeking the optimum effect of ideological influence through movies .

另外，谢晋电影在应合社会权威话语的过程中，通过其独特的语言策略满足了观众潜欲望的需求。

In addition , during the process of echoing the social authority in his movies , Xie meets audience 's sub-conscious needs with his special language strategies , so Xie Jin 's movie ;

婆媳冲突：内隐的男权世界从祁太秧歌婆媳冲突型剧目中看近代家庭的男性权威和长者意者男性权威话语情境下的女性被述论谢晋影片中的女性形象

Conflicts between Mothers and Daughters-in-Law : Patriarchy in Essence & Masculine Authority and Patriarchal Will of Modern Family in Qitai Yangge Opera ON THE FEMALE IMAGES IN THE FILMS DIRECTED BY XIE JIN

进入上世纪90年代，谢晋没有心浮气躁地迎合时尚，他依然坚守自己对人生对社会的严肃思考，坚守自己的艺术良知。

Since the1990s , Xie Jin did not have the rash to cater to the fashion , he still persevered himself to the life to society 's serious ponder , persevered own artistic conscience .

经检查，谢晋的死因初步判定为“心源性猝死”，主要原因是心脏缺氧导致的心脏缺血，以至于停跳。

After the inspection , Xie Jin 's cause of death determines initially as " the heart source sudden death ", the primary cause is the heart ischemia which the heart oxygen deficit causes , stops jumps .

在谢晋导演80寿辰之际，面对当下中国电影失却观众垂青，处于票房低谷的局面，重新关注谢晋电影的大众性无疑具有重要的理论价值和现实意义。

On the occasion of the eightieth birthday of director Xie Jin , it is crucial for the Chinese film industry to study the popular character of Xie Jin 's films in face of losing its audience and receiving comparatively low box-office income .

在谢晋的电影中这种稳定性和规律性表现为：文化和反文化的二元性，题材、和母题等的重复性、积累性、怀旧性，结局的可预见性和主流文化的象征性。

The manifestation of the stability and regularity in Xie Jin 's movie includes the duality of culture and anti-culture , the repetition , accumulation and nostalgia of movie materials and themes etc. , the predictability of endings and the symbolization of the dominant culture .