【新唐人2012年1月26日訊】英國《金融時報》報導，北京政府急切希望在國際上樹立良好形象，中國財團正向好萊塢進軍，想在美國樹立起中國的標誌。但大陸導演張藝謀耗資６億人民幣打造的《金陵十三釵》，卻沒能踏進奧斯卡門檻。學者指出，大陸太多違反普世價值的禁令，使得作品很難得到世界的認可。
《金融時報》的一篇文章說，由中國大陸傳媒大亨吳征為首的財團，正在向好萊塢進軍，希望收購獅門影業電影公司，在美國娛樂界樹立起中國的標誌。文章認為，北京政府急切希望在國際上樹立良好形象，這可能是投資者進軍好萊塢的主要原因。
但張藝謀作品《金陵十三釵》，在最近奧斯卡最佳外語片競爭中卻被淘汰出局，影片被批「只有性，沒人性。」
中國文化評論家葉匡政認為，一個民族的創傷記憶，不用嚴肅的態度反思，用性或帶有各種商業目地的各種手段來表現，是對人性的褻瀆和對人性的不尊重。
葉匡政：「張藝謀的《金陵十三釵》是對整個中國關於南京大屠殺這種創傷記憶的一種傷害。所以他的電影在西方受到普遍貶低是一種正常的現象。」
清華大學美學教授、文化批評家肖鷹則認為，張藝謀模仿好萊塢大片10多年，只知道抄襲畫面製作，不知從電影精神的深層借鑒和提升。
其實，張藝謀的電影以前並不是這樣的。他執導的《活著》獲得1994年第47屆「戛納電影節」評審團大獎和最佳男演員獎。但這部影片因為涉及政治因素，有對中共諷刺的意味，所以沒有通過大陸的審查，至今沒有在大陸公映。
葉匡政表示，張藝謀的《活著》被禁以後，他來了個大轉向。
葉匡政：「他這幾年中共的意識跟的比較緊，所以我覺得他已經喪失了對藝術的創作力和判斷力。」
中國藝術研究院研究員吳祚來認為，現在的大陸電影人在哲學、價值觀上都是欠缺的，只是為了追求市場，很難有藝術性和文化深度。
吳祚來：「那些資本的力量，他們以為只要是情色，全世界都會喜歡。其實並不是這樣。沒有價值追求，沒有歷史感，沒有對人尊嚴的尊重，沒有自由的思想，他這種東西很難得到實踐的承認。」
葉匡正透露，前一段時間中國公布了電影界的13條禁令，民族問題、宗教問題、官員腐敗、中國現代史等都不准反思，影響社會和諧的也不允許表現。
葉匡正：「無論電影也好、文化也好，各種藝術創作，只要給他空間、給他自由，他就自然而然有豐富的土壤。但是中國電影有大量的禁區，中國五十年代的反右、60年代的文革，那裏有大量的故事素材，任何一個故事拍成電影都會震動世界。但是中共並不允許你觸及他的歷史。」
吳祚來也指出，國內審查太多，每個人寫東西的時候，要考慮是不是違禁、是不是領導喜歡，能不能通過審查，甚至會不會有人來找麻煩。這種環境下，文化怎能獲得發展？
新唐人記者秦雪、宋風、王明宇採訪報導。
“Flowers of War” not recognized
Britain’s Financial Times reported, Beijing really wanted to
establish a good international image.
The Chinese media companies are trying to enter Hollywood
and establish the Chinese image in the U.S.
However, director Zhang Yimou’s film “Flowers of War” which
cost 600 million yuan ($94.7 million USD) was not even mentioned at the Oscars.
Scholars pointed out, there are too many restrictions in
China, making films hard to gain global acceptance.
An article by the Financial Times wrote, mainland Chinese
media mogul Wu Zheng and others are trying to enter Hollywood,
hoping to buy out Lions Gate Films and establish a Chinese
image in the U.S entertainment circles.
The article mentioned, the Chinese government desperately
seeks to establish a good international image and
might be the main reason for this investment.
Representing China’s best, Zhang Yimou’s film, Flowers of War
was eliminated from the Oscar’s Best Foreign Language Film category.
The film’s review was, “only sex, lacking humanity.”
Chinese culture commentator Ye Kuangzheng believes, not
treating traumatic memories of a nation with due seriousness,
or using sex and other commercial methods to express it,
are a disgrace and blaspheme against humanity.
Ye Kuangzheng, “Zhang Yimou’s Flowers of War is damaging
China’s memory of the Nanjing Massacre.
This is why this film received such negative ratings
in the west.”
Tsinghua University art professor, cultural critic Xiao Ying
believes, Zhang Yimou has been imitating Hollywood films for 10+ years,
but only sees the superficial image,
not the hidden spirit behind the films.
Zhang Yimou’s earlier works were not like this. His film,
“Alive” won best male actor and Grand Prix awards at the 1994 Film Festival de Cannes.
However, since this film contained political elements,
it was mocking the Chinese regime,
it never passed censorship review and
was never shown in mainland China.
Ye Kuangzheng expressed, after his work,
“Alive” was censored; Zhang Yimou took at big turn.
Ye Kuangzheng, “In recent years, he is closely following the
wish of the Chinese Communist Party (CCP),
so I think he has already lost his creativity and judgment.”
China Art Research Institute researcher Wu Zuolai believes,
mainland Chinese film makers lack understanding on
philosophy and moral values, seeking only market share,
so it’s hard to gain deeper artistic and culture meaning.
Wu Zuolai, “These commercial powers, they only want sex,
so the entire world will like it. In reality this is not true.
Without a pursuit of universal value and historical feeling,
without respect and free thoughts, this thing is hard to accept.”
Ye Kuangzheng revealed, recently there were 13 bans
announced to the Chinese film industry.
Ethnically conflicts, religious issues, corruption, modern Chinese history etc.
are not allowed to be reflected in films.
Anything that might affect the harmony of society
is not allowed.
Ye Kuangzheng, “No matter if it’s film, culture, or other art
forms, it needs space, freedom, and rich soil to allows it to naturally grow.
But Chinese films have lots of restricted area,
anti-rightest movements of the 1950s, cultural revolution of the 1960s,
there are lots of stories, any movie on them would
shock the entire world.
However, the CCP does not allow you to mention
those historical accounts.”
Wu Zuolai pointed out; there are too many reviews in
mainland China, whenever anyone writes anything,
he has to worry about whether it will be banned,
whether the officials will like it, will it pass the review,
or even whether if this will cause trouble.
Under this environment, how can culture develop?
NTD Reporter Qin Yue, Song Feng and Wang Mingyu
