谭飞

You, the lead in several Feng films, playing opposite Taiwan-born star Shu Qi. Feng is directing a sequel for late 2010 release. According to film critic Tan Fei, the huge popularity of Fengs films has helped drive the commercialization of the entire Chinese film business. The Chinese movie industry has gone from the planned economy to the second biggest movie market in the world today, and Feng is a milestone figure in that development, says Tan. He has really made a connection to the audience through his work. 电影评论家谭飞表示，冯式电影的走俏切实的帮助了整个中国电影市场的商业化。 “中国的电影工业已经从计划经济时代正迈向全球第二大电影市场的今天，冯在这一发展过程中是一个奠基石般的人物”，谭飞说，“他通过自己的作品和观众们有了真正的连接点”。 Feng has treated serious topics before (infidelity in 2003s Cell Phone and war in 2007s Assembly) but Aftershock is easily his most somber film to date. As if a deadly earthquake werent devastating enough, a Tangshan mother is forced to decide between saving her son or daughter. Both are trapped under a collapsed building, and rescuers can reach only one of them before the structure topples. She chooses the son, but, unbeknownst to her, the daughter miraculously survives. With her mothers betrayal fresh in her ears, the little girl flees her family and is raised by a husband and wife in the Peoples Liberation Army. Thirty-two years later, she travels to help victims of thThe Big One

The Big One By Austin Ramzy Monday, Aug. 02, 2010 In expert hands, natural disasters are fail-safe box-office fodder, and when it comes to dramatizing two of Chinas deadliest cataclysms, such hands appear to belong to 51-year-old movie director Feng Xiaogang. Hugely successful and blessed with a gift for depicting the kinds of characters and situations that ordinary Chinese flock in their millions to see, Feng has just released his latest blockbuster. Entitled Aftershock, its a massive, mawkish adaptation of Zhang Lings eponymous 2006 novel of the 1976 Tangshan earthquake. That disaster claimed at least 240,000 lives, but the plot of Aftershock carries forward to 2008 and the Sichuan quake, which left 87,000 dead or missing. The movie hit the screens just six days before the 34th anniversary of the Tangshan horror. （冯小刚导演）是极其成功的导演，他有描述不同性格和情境的天赋，能吸引以百万计的中国的普罗大众。 The fact that Tangshan took place within living memory and that Sichuan is still a raw trauma doesnt seem to trouble Feng. On one level, we will show an earthquake that the audience feels is real, he says. On another, Feng is confident that he can decently convey the hurt deep in peoples hearts — the wound that still exists after dozens of years. And finally, theres the obligation to tell a good story. Thats something audiences have come By Austin Ramzy Monday, Aug. 02, 2010

In expert hands, natural disasters are fail-safe box-office fodder, and when it comes to dramatizing two of China's deadliest cataclysms, such hands appear to belong to 51-year-old movie director Feng Xiaogang. to expect from him. Since his first film, the 1994 comedy Gone Forever with My Love, Feng has directed a dozen box-office hits. He lacks the arty reputation of Beijing Film Academy graduates like Zhang Yimou and Chen Kaige, and is an unknown on the international festival circuit, but Feng is happy working in the mainstream. He began his career building sets for an army drama troupe, before getting into TV and rising to prominence as the director of the early 1990s drama Beijinger in New York — a background that has steeped him in populist entertainment. I have to think whether the audience will come to see the movie, he says. 从1994年的《永失我爱》——冯的第一部戏开始，他已经导演了无数票房大热片。 Feng properly hit his commercial stride when he became the first mainland director to release his movies in the relaxed period between Christmas and the Lunar New Year, when people have more time and money for the cinema. Dream Factory, a 1997 comedy about a group of friends who decide to make extra cash by impersonating characters according to their clients needs, was the first hesuipian, as these festively timed films are now called, and took in $5 million, about six times what it cost to make. Feng has made a hesuipian most years since, with great success. In late 2008, it was the romantic comedy If You Are the One, which featured Ge Hugely successful and blessed with a gift for depicting the kinds of characters and situations that ordinary Chinese flock in their millions to see, Feng has just released his latest blockbuster. ，“从这部电影开始，你可以看到，冯导已经从一位流行导演转向一位具有公民意识的导演，具有更多的社会责任感，和更高的道德标准”。（没全翻译，有些敏感段落，懂英文的朋友可自看：http:www.time.comtimemagazinearticle0,9171,2005688,00.html） 谭飞注：采访是在7月5号进行。当时我还谈了很多对冯及《唐山大地震》的看法，诸如：1、线索删减有问题；2、中间略显电视剧化；3、不够尖锐，少了对体制的描述；4、在现有语境的制约下，勇气少了些等等，但最后都遭略去不表。我尤其提到自己写的一句：“某些制度性苦难在现有语境下难以刻画，非制度性苦难里，中国人的隐忍、委曲、大爱、宽宥，在这个极致标本身上，得到熠熠放光再现”是有些“微言大义”的，亦遭忽略。我认为：在隐喻、暗示方面做得最牛逼的公映华语片是《霸王别姬》，解放军整齐划一对程蝶衣鼓掌一幕其实是巧妙昭示，颇有深意；此外，贾樟柯《三峡好人》里如神舟飞船飞走的移民纪念碑亦是精彩隐喻。《唐山大地震》当然是不可能拿奥斯卡的，西方会如何拍这种题材？不知道。有几个细节可能会作以下设计：一、女儿线为主，大幅删减母亲线；二、女儿跟养父有微妙情愫，女儿跟养父闹翻是有背景的；三、解放军赴唐山一开始进不去，且一中级军官长得像华国锋。。。。等等。这是套路。《时代》有套路，奥斯卡也有。 Entitled Aftershock, it's a massive, mawkish adaptation of Zhang Ling's eponymous 2006 novel of the 1976 Tangshan earthquake. That disaster claimed at least 240,000 lives, but the plot of Aftershock carries forward to 2008 and the Sichuan quake, which left 87,000 dead or missing. The movie hit the screens just six days before the 34th anniversary of the Tangshan horror.

，“从这部电影开始，你可以看到，冯导已经从一位流行导演转向一位具有公民意识的导演，具有更多的社会责任感，和更高的道德标准”。（没全翻译，有些敏感段落，懂英文的朋友可自看：http:www.time.comtimemagazinearticle0,9171,2005688,00.html） 谭飞注：采访是在7月5号进行。当时我还谈了很多对冯及《唐山大地震》的看法，诸如：1、线索删减有问题；2、中间略显电视剧化；3、不够尖锐，少了对体制的描述；4、在现有语境的制约下，勇气少了些等等，但最后都遭略去不表。我尤其提到自己写的一句：“某些制度性苦难在现有语境下难以刻画，非制度性苦难里，中国人的隐忍、委曲、大爱、宽宥，在这个极致标本身上，得到熠熠放光再现”是有些“微言大义”的，亦遭忽略。我认为：在隐喻、暗示方面做得最牛逼的公映华语片是《霸王别姬》，解放军整齐划一对程蝶衣鼓掌一幕其实是巧妙昭示，颇有深意；此外，贾樟柯《三峡好人》里如神舟飞船飞走的移民纪念碑亦是精彩隐喻。《唐山大地震》当然是不可能拿奥斯卡的，西方会如何拍这种题材？不知道。有几个细节可能会作以下设计：一、女儿线为主，大幅删减母亲线；二、女儿跟养父有微妙情愫，女儿跟养父闹翻是有背景的；三、解放军赴唐山一开始进不去，且一中级军官长得像华国锋。。。。等等。这是套路。《时代》有套路，奥斯卡也有。 （冯小刚导演）是极其成功的导演，他有描述不同性格和情境的天赋，能吸引以百万计的中国的普罗大众。

The Big One By Austin Ramzy Monday, Aug. 02, 2010 In expert hands, natural disasters are fail-safe box-office fodder, and when it comes to dramatizing two of Chinas deadliest cataclysms, such hands appear to belong to 51-year-old movie director Feng Xiaogang. Hugely successful and blessed with a gift for depicting the kinds of characters and situations that ordinary Chinese flock in their millions to see, Feng has just released his latest blockbuster. Entitled Aftershock, its a massive, mawkish adaptation of Zhang Lings eponymous 2006 novel of the 1976 Tangshan earthquake. That disaster claimed at least 240,000 lives, but the plot of Aftershock carries forward to 2008 and the Sichuan quake, which left 87,000 dead or missing. The movie hit the screens just six days before the 34th anniversary of the Tangshan horror. （冯小刚导演）是极其成功的导演，他有描述不同性格和情境的天赋，能吸引以百万计的中国的普罗大众。 The fact that Tangshan took place within living memory and that Sichuan is still a raw trauma doesnt seem to trouble Feng. On one level, we will show an earthquake that the audience feels is real, he says. On another, Feng is confident that he can decently convey the hurt deep in peoples hearts — the wound that still exists after dozens of years. And finally, theres the obligation to tell a good story. Thats something audiences have come The fact that Tangshan took place within living memory and that Sichuan is still a raw trauma doesn't seem to trouble Feng. On one level, "we will show an earthquake that the audience feels is real," he says. On another, Feng is confident that he can decently convey "the hurt deep in people's hearts — the wound that still exists after dozens of years." And finally, there's the obligation to tell "a good story." That's something audiences have come to expect from him. Since his first film, the 1994 comedy Gone Forever with My Love, Feng has directed a dozen box-office hits. ，“从这部电影开始，你可以看到，冯导已经从一位流行导演转向一位具有公民意识的导演，具有更多的社会责任感，和更高的道德标准”。（没全翻译，有些敏感段落，懂英文的朋友可自看：http:www.time.comtimemagazinearticle0,9171,2005688,00.html） 谭飞注：采访是在7月5号进行。当时我还谈了很多对冯及《唐山大地震》的看法，诸如：1、线索删减有问题；2、中间略显电视剧化；3、不够尖锐，少了对体制的描述；4、在现有语境的制约下，勇气少了些等等，但最后都遭略去不表。我尤其提到自己写的一句：“某些制度性苦难在现有语境下难以刻画，非制度性苦难里，中国人的隐忍、委曲、大爱、宽宥，在这个极致标本身上，得到熠熠放光再现”是有些“微言大义”的，亦遭忽略。我认为：在隐喻、暗示方面做得最牛逼的公映华语片是《霸王别姬》，解放军整齐划一对程蝶衣鼓掌一幕其实是巧妙昭示，颇有深意；此外，贾樟柯《三峡好人》里如神舟飞船飞走的移民纪念碑亦是精彩隐喻。《唐山大地震》当然是不可能拿奥斯卡的，西方会如何拍这种题材？不知道。有几个细节可能会作以下设计：一、女儿线为主，大幅删减母亲线；二、女儿跟养父有微妙情愫，女儿跟养父闹翻是有背景的；三、解放军赴唐山一开始进不去，且一中级军官长得像华国锋。。。。等等。这是套路。《时代》有套路，奥斯卡也有。 He lacks the arty reputation of Beijing Film Academy graduates like Zhang Yimou and Chen Kaige, and is an unknown on the international festival circuit, but Feng is happy working in the mainstream. He began his career building sets for an army drama troupe, before getting into TV and rising to prominence as the director of the early 1990s drama Beijinger in New York — a background that has steeped him in populist entertainment. "I have to think whether the audience will come to see the movie," he says.

e earthquake in Sichuan. There she sees how another mother is forced to make a similar choice, and the experience changes her appraisal of the past. Its an impossibly sentimental treatment but hallmark Feng. Tan claims that Aftershock marks a new stage in the filmmakers career. From this movie, you can see that hes changing from a populist director to a civic-minded director, Tan says, with more responsibility and higher moral standards. But if Feng really does have a newfound sense of social obligation, it doesnt include the need to address (or even allude to) one of the most painful issues arising from the Sichuan quake: allegations that official corruption led to the construction of substandard schools, which collapsed and killed thousands of children. In Fengs Sichuan, there are no protesting parents, critical journalists or jailed dissidents like Tan Zuoren, who in February was sentenced to five years for carrying out an investigation into the schools. Then again, such a movie would never see a mainland release, and Feng, whatever his private views on Sichuan, cannot be expected to commit career suicide at the height of his game. Aftershock may help give focus to a nations grief, but like the rest of Fengs corpus it studiously avoids making any shocks of its own. 谭飞表示《唐山大地震》标志着冯导的职业生涯迈向了一个新阶段 从1994You, the lead in several Feng films, playing opposite Taiwan-born star Shu Qi. Feng is directing a sequel for late 2010 release. According to film critic Tan Fei, the huge popularity of Fengs films has helped drive the commercialization of the entire Chinese film business. The Chinese movie industry has gone from the planned economy to the second biggest movie market in the world today, and Feng is a milestone figure in that development, says Tan. He has really made a connection to the audience through his work. 电影评论家谭飞表示，冯式电影的走俏切实的帮助了整个中国电影市场的商业化。 “中国的电影工业已经从计划经济时代正迈向全球第二大电影市场的今天，冯在这一发展过程中是一个奠基石般的人物”，谭飞说，“他通过自己的作品和观众们有了真正的连接点”。 Feng has treated serious topics before (infidelity in 2003s Cell Phone and war in 2007s Assembly) but Aftershock is easily his most somber film to date. As if a deadly earthquake werent devastating enough, a Tangshan mother is forced to decide between saving her son or daughter. Both are trapped under a collapsed building, and rescuers can reach only one of them before the structure topples. She chooses the son, but, unbeknownst to her, the daughter miraculously survives. With her mothers betrayal fresh in her ears, the little girl flees her family and is raised by a husband and wife in the Peoples Liberation Army. Thirty-two years later, she travels to help victims of th年的《永失我爱》——冯的第一部戏开始，他已经导演了无数票房大热片。

The Big One By Austin Ramzy Monday, Aug. 02, 2010 In expert hands, natural disasters are fail-safe box-office fodder, and when it comes to dramatizing two of Chinas deadliest cataclysms, such hands appear to belong to 51-year-old movie director Feng Xiaogang. Hugely successful and blessed with a gift for depicting the kinds of characters and situations that ordinary Chinese flock in their millions to see, Feng has just released his latest blockbuster. Entitled Aftershock, its a massive, mawkish adaptation of Zhang Lings eponymous 2006 novel of the 1976 Tangshan earthquake. That disaster claimed at least 240,000 lives, but the plot of Aftershock carries forward to 2008 and the Sichuan quake, which left 87,000 dead or missing. The movie hit the screens just six days before the 34th anniversary of the Tangshan horror. （冯小刚导演）是极其成功的导演，他有描述不同性格和情境的天赋，能吸引以百万计的中国的普罗大众。 The fact that Tangshan took place within living memory and that Sichuan is still a raw trauma doesnt seem to trouble Feng. On one level, we will show an earthquake that the audience feels is real, he says. On another, Feng is confident that he can decently convey the hurt deep in peoples hearts — the wound that still exists after dozens of years. And finally, theres the obligation to tell a good story. Thats something audiences have come Feng properly hit his commercial stride when he became the first mainland director to release his movies in the relaxed period between Christmas and the Lunar New Year, when people have more time and money for the cinema. Dream Factory, a 1997 comedy about a group of friends who decide to make extra cash by impersonating characters according to their clients' needs, was the first hesuipian, as these festively timed films are now called, and took in $5 million, about six times what it cost to make. Feng has made a hesuipian most years since, with great success. In late 2008, it was the romantic comedy If You Are the One, which featured Ge You, the lead in several Feng films, playing opposite Taiwan-born star Shu Qi. Feng is directing a sequel for late 2010 release.

to expect from him. Since his first film, the 1994 comedy Gone Forever with My Love, Feng has directed a dozen box-office hits. He lacks the arty reputation of Beijing Film Academy graduates like Zhang Yimou and Chen Kaige, and is an unknown on the international festival circuit, but Feng is happy working in the mainstream. He began his career building sets for an army drama troupe, before getting into TV and rising to prominence as the director of the early 1990s drama Beijinger in New York — a background that has steeped him in populist entertainment. I have to think whether the audience will come to see the movie, he says. 从1994年的《永失我爱》——冯的第一部戏开始，他已经导演了无数票房大热片。 Feng properly hit his commercial stride when he became the first mainland director to release his movies in the relaxed period between Christmas and the Lunar New Year, when people have more time and money for the cinema. Dream Factory, a 1997 comedy about a group of friends who decide to make extra cash by impersonating characters according to their clients needs, was the first hesuipian, as these festively timed films are now called, and took in $5 million, about six times what it cost to make. Feng has made a hesuipian most years since, with great success. In late 2008, it was the romantic comedy If You Are the One, which featured Ge According to film critic Tan Fei, the huge popularity of Feng's films has helped drive the commercialization of the entire Chinese film business. "The Chinese movie industry has gone from the planned economy to the second biggest movie market in the world today, and Feng is a milestone figure in that development," says Tan. "He has really made a connection to the audience through his work."

，“从这部电影开始，你可以看到，冯导已经从一位流行导演转向一位具有公民意识的导演，具有更多的社会责任感，和更高的道德标准”。（没全翻译，有些敏感段落，懂英文的朋友可自看：http:www.time.comtimemagazinearticle0,9171,2005688,00.html） 谭飞注：采访是在7月5号进行。当时我还谈了很多对冯及《唐山大地震》的看法，诸如：1、线索删减有问题；2、中间略显电视剧化；3、不够尖锐，少了对体制的描述；4、在现有语境的制约下，勇气少了些等等，但最后都遭略去不表。我尤其提到自己写的一句：“某些制度性苦难在现有语境下难以刻画，非制度性苦难里，中国人的隐忍、委曲、大爱、宽宥，在这个极致标本身上，得到熠熠放光再现”是有些“微言大义”的，亦遭忽略。我认为：在隐喻、暗示方面做得最牛逼的公映华语片是《霸王别姬》，解放军整齐划一对程蝶衣鼓掌一幕其实是巧妙昭示，颇有深意；此外，贾樟柯《三峡好人》里如神舟飞船飞走的移民纪念碑亦是精彩隐喻。《唐山大地震》当然是不可能拿奥斯卡的，西方会如何拍这种题材？不知道。有几个细节可能会作以下设计：一、女儿线为主，大幅删减母亲线；二、女儿跟养父有微妙情愫，女儿跟养父闹翻是有背景的；三、解放军赴唐山一开始进不去，且一中级军官长得像华国锋。。。。等等。这是套路。《时代》有套路，奥斯卡也有。 电影评论家谭飞表示，冯式电影的走俏切实的帮助了整个中国电影市场的商业化。

e earthquake in Sichuan. There she sees how another mother is forced to make a similar choice, and the experience changes her appraisal of the past. Its an impossibly sentimental treatment but hallmark Feng. Tan claims that Aftershock marks a new stage in the filmmakers career. From this movie, you can see that hes changing from a populist director to a civic-minded director, Tan says, with more responsibility and higher moral standards. But if Feng really does have a newfound sense of social obligation, it doesnt include the need to address (or even allude to) one of the most painful issues arising from the Sichuan quake: allegations that official corruption led to the construction of substandard schools, which collapsed and killed thousands of children. In Fengs Sichuan, there are no protesting parents, critical journalists or jailed dissidents like Tan Zuoren, who in February was sentenced to five years for carrying out an investigation into the schools. Then again, such a movie would never see a mainland release, and Feng, whatever his private views on Sichuan, cannot be expected to commit career suicide at the height of his game. Aftershock may help give focus to a nations grief, but like the rest of Fengs corpus it studiously avoids making any shocks of its own. 谭飞表示《唐山大地震》标志着冯导的职业生涯迈向了一个新阶段 “中国的电影工业已经从计划经济时代正迈向全球第二大电影市场的今天，冯在这一发展过程中是一个奠基石般的人物”，谭飞说，“他通过自己的作品和观众们有了真正的连接点”。

，“从这部电影开始，你可以看到，冯导已经从一位流行导演转向一位具有公民意识的导演，具有更多的社会责任感，和更高的道德标准”。（没全翻译，有些敏感段落，懂英文的朋友可自看：http:www.time.comtimemagazinearticle0,9171,2005688,00.html） 谭飞注：采访是在7月5号进行。当时我还谈了很多对冯及《唐山大地震》的看法，诸如：1、线索删减有问题；2、中间略显电视剧化；3、不够尖锐，少了对体制的描述；4、在现有语境的制约下，勇气少了些等等，但最后都遭略去不表。我尤其提到自己写的一句：“某些制度性苦难在现有语境下难以刻画，非制度性苦难里，中国人的隐忍、委曲、大爱、宽宥，在这个极致标本身上，得到熠熠放光再现”是有些“微言大义”的，亦遭忽略。我认为：在隐喻、暗示方面做得最牛逼的公映华语片是《霸王别姬》，解放军整齐划一对程蝶衣鼓掌一幕其实是巧妙昭示，颇有深意；此外，贾樟柯《三峡好人》里如神舟飞船飞走的移民纪念碑亦是精彩隐喻。《唐山大地震》当然是不可能拿奥斯卡的，西方会如何拍这种题材？不知道。有几个细节可能会作以下设计：一、女儿线为主，大幅删减母亲线；二、女儿跟养父有微妙情愫，女儿跟养父闹翻是有背景的；三、解放军赴唐山一开始进不去，且一中级军官长得像华国锋。。。。等等。这是套路。《时代》有套路，奥斯卡也有。 Feng has treated serious topics before (infidelity in 2003's Cell Phone and war in 2007's Assembly) but Aftershock is easily his most somber film to date. As if a deadly earthquake weren't devastating enough, a Tangshan mother is forced to decide between saving her son or daughter. Both are trapped under a collapsed building, and rescuers can reach only one of them before the structure topples. She chooses the son, but, unbeknownst to her, the daughter miraculously survives. With her mother's betrayal fresh in her ears, the little girl flees her family and is raised by a husband and wife in the People's Liberation Army. Thirty-two years later, she travels to help victims of the earthquake in Sichuan. There she sees how another mother is forced to make a similar choice, and the experience changes her appraisal of the past. It's an impossibly sentimental treatment but hallmark Feng.

The Big One By Austin Ramzy Monday, Aug. 02, 2010 In expert hands, natural disasters are fail-safe box-office fodder, and when it comes to dramatizing two of Chinas deadliest cataclysms, such hands appear to belong to 51-year-old movie director Feng Xiaogang. Hugely successful and blessed with a gift for depicting the kinds of characters and situations that ordinary Chinese flock in their millions to see, Feng has just released his latest blockbuster. Entitled Aftershock, its a massive, mawkish adaptation of Zhang Lings eponymous 2006 novel of the 1976 Tangshan earthquake. That disaster claimed at least 240,000 lives, but the plot of Aftershock carries forward to 2008 and the Sichuan quake, which left 87,000 dead or missing. The movie hit the screens just six days before the 34th anniversary of the Tangshan horror. （冯小刚导演）是极其成功的导演，他有描述不同性格和情境的天赋，能吸引以百万计的中国的普罗大众。 The fact that Tangshan took place within living memory and that Sichuan is still a raw trauma doesnt seem to trouble Feng. On one level, we will show an earthquake that the audience feels is real, he says. On another, Feng is confident that he can decently convey the hurt deep in peoples hearts — the wound that still exists after dozens of years. And finally, theres the obligation to tell a good story. Thats something audiences have come Tan claims that Aftershock marks a new stage in the filmmaker's career. "From this movie, you can see that he's changing from a populist director to a civic-minded director," Tan says, "with more responsibility and higher moral standards." But if Feng really does have a newfound sense of social obligation, it doesn't include the need to address (or even allude to) one of the most painful issues arising from the Sichuan quake: allegations that official corruption led to the construction of substandard schools, which collapsed and killed thousands of children. In Feng's Sichuan, there are no protesting parents, critical journalists or jailed dissidents like Tan Zuoren, who in February was sentenced to five years for carrying out an investigation into the schools. Then again, such a movie would never see a mainland release, and Feng, whatever his private views on Sichuan, cannot be expected to commit career suicide at the height of his game. Aftershock may help give focus to a nation's grief, but like the rest of Feng's corpus it studiously avoids making any shocks of its own.

e earthquake in Sichuan. There she sees how another mother is forced to make a similar choice, and the experience changes her appraisal of the past. Its an impossibly sentimental treatment but hallmark Feng. Tan claims that Aftershock marks a new stage in the filmmakers career. From this movie, you can see that hes changing from a populist director to a civic-minded director, Tan says, with more responsibility and higher moral standards. But if Feng really does have a newfound sense of social obligation, it doesnt include the need to address (or even allude to) one of the most painful issues arising from the Sichuan quake: allegations that official corruption led to the construction of substandard schools, which collapsed and killed thousands of children. In Fengs Sichuan, there are no protesting parents, critical journalists or jailed dissidents like Tan Zuoren, who in February was sentenced to five years for carrying out an investigation into the schools. Then again, such a movie would never see a mainland release, and Feng, whatever his private views on Sichuan, cannot be expected to commit career suicide at the height of his game. Aftershock may help give focus to a nations grief, but like the rest of Fengs corpus it studiously avoids making any shocks of its own. 谭飞表示《唐山大地震》标志着冯导的职业生涯迈向了一个新阶段 谭飞表示《唐山大地震》标志着冯导的职业生涯迈向了一个新阶段，“从这部电影开始，你可以看到，冯导已经从一位流行导演转向一位具有公民意识的导演，具有更多的社会责任感，和更高的道德标准”。（没全翻译，有些敏感段落，懂英文的朋友可自看：http://www.time.com/time/magazine/article/0,9171,2005688,00.html）

e earthquake in Sichuan. There she sees how another mother is forced to make a similar choice, and the experience changes her appraisal of the past. Its an impossibly sentimental treatment but hallmark Feng. Tan claims that Aftershock marks a new stage in the filmmakers career. From this movie, you can see that hes changing from a populist director to a civic-minded director, Tan says, with more responsibility and higher moral standards. But if Feng really does have a newfound sense of social obligation, it doesnt include the need to address (or even allude to) one of the most painful issues arising from the Sichuan quake: allegations that official corruption led to the construction of substandard schools, which collapsed and killed thousands of children. In Fengs Sichuan, there are no protesting parents, critical journalists or jailed dissidents like Tan Zuoren, who in February was sentenced to five years for carrying out an investigation into the schools. Then again, such a movie would never see a mainland release, and Feng, whatever his private views on Sichuan, cannot be expected to commit career suicide at the height of his game. Aftershock may help give focus to a nations grief, but like the rest of Fengs corpus it studiously avoids making any shocks of its own. 谭飞表示《唐山大地震》标志着冯导的职业生涯迈向了一个新阶段 谭飞注：采访是在7月5号进行。当时我还谈了很多对冯及《唐山大地震》的看法，诸如：1、线索删减有问题；2、中间略显电视剧化；3、不够尖锐，少了对体制的描述；4、在现有语境的制约下，勇气少了些等等，但最后都遭略去不表。我尤其提到自己写的一句：“The Big One By Austin Ramzy Monday, Aug. 02, 2010 In expert hands, natural disasters are fail-safe box-office fodder, and when it comes to dramatizing two of Chinas deadliest cataclysms, such hands appear to belong to 51-year-old movie director Feng Xiaogang. Hugely successful and blessed with a gift for depicting the kinds of characters and situations that ordinary Chinese flock in their millions to see, Feng has just released his latest blockbuster. Entitled Aftershock, its a massive, mawkish adaptation of Zhang Lings eponymous 2006 novel of the 1976 Tangshan earthquake. That disaster claimed at least 240,000 lives, but the plot of Aftershock carries forward to 2008 and the Sichuan quake, which left 87,000 dead or missing. The movie hit the screens just six days before the 34th anniversary of the Tangshan horror. （冯小刚导演）是极其成功的导演，他有描述不同性格和情境的天赋，能吸引以百万计的中国的普罗大众。 The fact that Tangshan took place within living memory and that Sichuan is still a raw trauma doesnt seem to trouble Feng. On one level, we will show an earthquake that the audience feels is real, he says. On another, Feng is confident that he can decently convey the hurt deep in peoples hearts — the wound that still exists after dozens of years. And finally, theres the obligation to tell a good story. Thats something audiences have come 某些制度性苦难在现有语境下难以刻画，非制度性苦难里，中国人的隐忍、委曲、大爱、宽宥，在这个极致标本身上，得到熠熠放光再现”是有些“微言大义”的，亦遭忽略。我认为：在隐喻、暗示方面做得最牛逼的公映华语片是《霸王别姬》，解放军整齐划一对程蝶衣鼓掌一幕其实是巧妙昭示，颇有深意；此外，贾樟柯《三峡好人》里如神舟飞船飞走的移民纪念碑亦是精彩隐喻。《唐山大地震》当然是不可能拿奥斯卡的，西方会如何拍这种题材？不知道。有几个细节可能会作以下设计：一、女儿线为主，大幅删减母亲线；二、女儿跟养父有微妙情愫，女儿跟养父闹翻是有背景的；三、解放军赴唐山一开始进不去，且一中级军官长得像华国锋。。。。等等。这是套路。《时代》有套路，奥斯卡也有。