第一次看影视剧感觉眼睛和耳朵受到双重伤害，三观不正+恶心人的剧情+丑比就算了还没演技的配角们+莫名其妙的狗屎反转，恶心人恶心人恶心人恶心人湖南台可以不要播了吗？？？？？？？？？？真的不是在黑李沁？？？今天中午看了感觉自己快吐了，恶心死了眼睛都快瞎了，耳朵也在受伤害，谋财害命的电视剧？尼玛还有航拍，浪费钱？演这个剧图什么？

真的希望#电视剧蓬莱间# 再火一点。

这是一部让我这个曾经说过这个世界上没有找男朋友的必要的人在办公室里面对一帮看戏的同事们说【我想谈恋爱】的剧。

有那些说出来就想笑的恋爱套路，却在每一个关键点都来点反套路，没有无脑的狗血剧情，却是真真实实会发生在所有恋爱故事里的暖暖的小套路。

烟雨胡同十八号的故事，都发生的刚刚好，就像大家都不明白桃源乡偏偏就喜欢有林夏的地方，就像白起在帮林夏教育三个混混的时候一点迷茫的神态，就像他们刚刚住在一起时的彼此嫌弃和彼此迁就，就像杨戬住进来时白起那句“我家”，就像阿离顺手就助攻了白起和林夏，就像可以用灵力把小熊扯坏却一定要一针一线把小熊补好，就像杨戬被塞狗粮还觉得大家过的都挺不错，就像白起口头上（心里也是）嫌弃过节却还是为了林夏过了一个巨甜的圣诞。。。

就像，我也想住进这个热热闹闹打打闹闹的烟雨胡同。

这幢房子里的烟火气和俗气，才是爱情里最好的注解。

李耳的第一个师父对他说我年纪大了，牙齿都快掉光了，可舌头却还在，你知道为什么吗？坚硬的东西往往难以久存，而柔软的东西却能一直存在。不要太过露出锋芒，要以柔克刚，才是长久的。修道，讲究遣欲而心安，心安而神清，神清而万象归一，无争无妄之境，则万事了矣。习儒，在于凡言行应遵礼术而行，以礼而行，则言行无过，言行无过而得人事之安，人事之常。习法，即法家，讲究预设法度，平衡之法，治安之法，过则罚之，无过则安。由此亦可见，中国文化所追求的根本在于平安二字，因为中国人深刻的认识到，只有在平安和谐的基础上，人民才能得到长远的发展，这与自然的道理是一样的，即效法于自然；故一切修身，治世之学说皆以先得平安为先为重。在乱世时，这些学说就有了生命力，因为人们开始渴望得安，就像渴了的人需要喝水，疲惫的人需要休息一样；在安世时，人们则寻求发展与进化，所以知识与技术就更有生命力；也可以说在逆境时，人们求安，在顺境时人们求发展；因此，长安而法术（指知识与技术）得展；但法术若使得不合道，即过度，如使其伤天害理，如使欲生致心迷神失；则乱；则入逆境；因此，以正心 正意 正身为根本，反之则乱，乱而难长难续也；因此，顺逆皆因自起，福祸皆因自招；《道德经》中有一条指导人提升境界、身心解放的核心思想：不争。文中有这样的句子——“不自见，故明；不自是，故彰；不自伐，故有功；不自矜，故长；夫唯不争，故天下莫能与之争。”意思是说：不显示自己，不自以为是，因而更显耀突出；不夸耀自己，因而有功绩；不自以为贤能，因而受到尊重；只有那不与人相争的，世界上才没有人能和他相争。”

写在前面：这是我本科通识课堂上用英文写的一篇影评。因为我并没有受过电影学或者性别研究相关的写作训练，难免有些词用得不够恰当。原文里也许还有语法错误或者表达不当的地方，也请谅解。

Although based on an ungendered perspective, the 1987 film Human, Woman, Demon by Huang Shuqin depicts the development of a woman's selfhood that can be interpreted through her "desire for and denial of the female identity" (172; 219). The protagonist, Qiuyun, has fully devoted herself to her theatrical career as the male lead to get away with the traumatizing experiences from childhood, which contributed to her adolescent disorientation in gender identity and career goals. Being a respected mid-aged woman, her mind is continually being torn apart by the binary gender roles that socio-ideologically enforced on her, as she maintains as a masqueraded model of manliness/masculinity on stage and a wife-mother figure in unfulfilling family life (219). The film's ending embodies her reconciliation with her inner struggles as she finds peace and her female subjectivity in communion with her ghost persona on stage.

In a seamless, panning transition of the camera, the scene edited before Qiuyun's final reconciliation with the opera ghost depicts the very beginning of her life through the narrative of an elderly midwife. The midwife recalls the day of Qiuyun's birth (94:27-94:35) and how she turned out to be a girl to her father's surprise, as he had presumed her to be a boy until the midwife examined her body, "When I took a look at you, I didn't see the manhood. You are really a girl! /等我一看啊，少了那个玩意儿…是个小姑娘家!（笑）." In addition to her conversation with her father after the village banquet, I think that Qiuyun's reunion with the midwife foreshadows the emancipation of her repressed female identity. Appearing as a new character in the next-to-last scene, my understanding is that the midwife serves symbolic purposes as an incarnation of the proper womanhood and Qiuyun's guide out of the identity dilemma.

Based on the few lines, it is not difficult to observe that the midwife is an attentive, keen person and the only female character that has ever shown benignancy to Qiuyun throughout the film. Even that colleague who babysits her younger child is indifferent to her complaints about her husband (74:01), not to mention the town girls who left her helpless in public ostracism (40:43) and the other students in the opera troupe. The midwife is also an antithesis to Qiuyun's mother, for the former welcomes her female body into the world, while the latter makes her deny the female identity. According to Cui, the screen space can be seen as "a psychological world suggesting the characters' potential thoughts and feelings" (236). The amber color palette in this scene creates a heart-warming atmosphere, making the midwife a maternal figure, moreover, a model of morality that the heroine never had.

Not only does their brief reencounter (93:27-94:35) recognize her female identity as inevitable and naturally given, it also amends the pains the protagonist has endured for the pursuit of the female identity. Caught up in the gossip of a sexual scandal with teacher Zhang, one of the male figures that evoke her desire to secure a female identity, the young Qiuyun is voiceless and frantically spreads her face with a hideous masquerade of red and black paints (70:15). She has smeared down the colors with both hands and caressed her cheeks before she has the meltdown (69:56-70:12). It is then she realizes that she has no one to seek guardian from. In the post banquet scene, which supposedly happens many years after the scandal, another pair of hands fondles along her cheeks. The midwife touches Qiuyun as gentle as possible when she expresses her joy in finding out Qiuyun's female identity (94:35). Both scenes have the visual of the heroine centered within the frame in a close-up shot and the same motion of hands. They are filmed with low-key lighting in dark background in the same camera angle as well. Qiuyun, in both timelines, is the subject of the screen space and her psychological world. Apart from the costume and make-up, the two scenes are parallel to each other yet convey distinctive messages based on each scene's mood. The teenager Qiuyun is under anxiety and imbalanced by her choice of gender, and she goes into self-destruction as the hands fall and carry her cheeks; The mid-aged Qiuyun is happy to see her old acquaintance, and then she reveals a genuine grin—a sign of self-salvation.

【详细】

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原创：五斗 排版：大狗

原创文章，版权归作者所有，任何形式转载请联系作者。

《破坏之王》关键道具植入广告考古技术分析——阿玛尼眼镜、swatch表

最近为了对比格斗类喜剧《羞羞的铁拳》而刷了《破坏之王》，却被片尾出现的赞助商品牌惊艳了一把，fila的服装没什么特别的地方，阿玛尼的眼镜留下了经典台词：你打坏了我的阿玛尼！呀，我的阿玛尼啊！

一般电影里出现产品展示，特别是观众所认识的品牌，电影内的世界就和现实世界有了一个交集，这个交集会让观众意识到电影里的世界是假的，而商业电影的目的是造梦，不能让观众因为植入广告中途出梦。要想避免观众梦醒，最重要的一点就是这个产品的出现一定要自然，跟剧情紧密相关，出现产品的时候剧情不能拖沓，一旦观众的思维不跟着剧情走，就是梦醒时分。

以下详细解说编剧和导演是怎么引导观众记住阿玛尼这句经典台词却又不在阿玛尼出现时出戏。

阿玛尼的出场建立在剧情的一个小高潮上。

主将穿西装戴眼镜，装斯文，为前面粗鲁对待钟丽缇的行为道歉，此时观众的关注点在钟丽缇是否会原谅主将，答案是钟丽缇爽快的握手言和。主将却马上再次猥琐，被钟丽缇发飙打掉眼镜，两人的的动作均符合影片一开始到现在的角色性格，冲突发生，打掉眼镜符合逻辑。主将此时没去管打掉的眼镜，一方面说明他不常戴眼镜，另一方面他更心急的是让此次道歉产生约炮成功的结果，所以忽略了眼镜的情况。到现在观众都是跟着编剧、导演在走，没有被产品影响，又对产品有印象。

接下来的剧情是主将还在拉扯钟丽缇，小弟们把碎眼镜送过来，主将随即改变目标，“眼镜破了”这一事件现在比“追求钟丽缇”重要。观众的心里会产生一个疑问，前40分钟剧情，追求戏码翻了三番的主将，此时为什么眼镜会比钟丽缇重要？好！马上给你答案：

【详细】

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与其说它是一个电影拼盘，不如说它是一部为女性撰写的群像小说。本片大致把女性分为三类，一类是被生活、被男人压迫和欺凌的穷苦女性，一类是依靠男人表面风光的虚伪女性，最后就是胡蝶所饰演的充满正义感、热情大方为革命尽一己之力的新时代女性。编导的目的白晃晃地展现在观众面前，篇幅又比较平均，令人感到有些疲惫。