广岛之恋论文主题

《广岛之恋》这首歌是张洪量在纽约求学期间，为了纪念自己与一个加拿大女孩短暂的异国恋情，写下这首歌曲。

《广岛之恋》是张洪量作词作曲，莫文蔚与张洪量共同演唱的一首歌曲，收录在莫文蔚1997年发行的专辑《做自己》中；当时他在上电影课时恰巧看到电影《广岛之恋》，因为其讲述的故事与自己所作歌曲都是在纪念一段异国恋，所以就拿《广岛之恋》作为这首歌曲的歌名。

同时《广岛之恋》是其专门为莫文蔚量身打造的对唱曲目。《广岛之恋》这首歌是根据同名电影的故事为背景进行创作的，同时这首歌从创作到成品，其间都有一些小插曲。

扩展资料：

《广岛之恋》出自马格利特·杜哈之手。1959年6月10日，同名电影上映；有中文翻译版《广岛之恋》图书2000年出版；由张洪量创作，张洪量和莫文蔚合唱的歌曲《广岛之恋》，根据该故事创作而成。

《广岛之恋》内容简介：一个法国女演员在遭受原子弹轰炸之后的广岛邂逅了一名日本男子，两人产生一段短暂的爱情，引起了法国女人对往日恋情的回忆。

女人是来自法国的女演员，在她到日本广岛拍摄影片时，与一位日本建筑工程师邂逅相爱。然而此时两人一个是有夫之妇，一个是有妇之夫。女人的拍摄工作已经结束了，她就要离开广岛……这注定是一场被扼杀的爱情，短暂而永恒。

《广岛之恋》画镜偏爱的是回忆 ，梦想 ，诉说 ，错觉 ，想像 ，还有潜在意识 ，神精驿动 等等人思维方式 。其实影片《广岛之恋》仍有风格边缘的主题 。故事线条虽然单纯也还是有主题 ，有情节的 ：一个不入流的法国女演员到日本拍片子 ，偶然遇到一名日本男子 ，他们迅速坠为情人。向着相互内心倾诉各自以往私情。并且认真地开始遗弃和淡忘 。

《广岛之恋》这首歌主要是依据《广岛之恋》电影情节而创作。

《广岛之恋》出自马格利特·杜哈之手。1959年6月10日，同名电影上映；有中文翻译版《广岛之恋》图书2000年出版；由张洪量创作，张洪量和莫文蔚合唱的歌曲《广岛之恋》，根据该故事创作而成。《广岛之恋》内容简介：一个法国女演员在遭受原子弹轰炸之后的广岛邂逅了一名日本男子，两人产生一段短暂的爱情，引起了法国女人对往日恋情的回忆。 女人是来自法国的女演员，在她到日本广岛拍摄影片时，与一位日本建筑工程师邂逅相爱。然而此时两人一个是有夫之妇，一个是有妇之夫。女人的拍摄工作已经结束了，她就要离开广岛……这注定是一场被扼杀的爱情，短暂而永恒。《广岛之恋》画镜偏爱的是回忆 ，梦想 ，诉说 ，错觉 ，想像 ，还有潜在意识 ，神精驿动 等等人思维方式 。从表情上读解影片《广岛之恋》 ，她显然是一部从人物内心，营造反战情绪的“抽象”电影。阿伦 雷乃自己讲道 ：风格即主题 。我甚至会以为 ，雷乃的这部《广岛之恋》中的无名女人是杜撰 ，是说谎 ，是欺的主体化身 。而雷乃自己说，用推拉长镜头将那些奢华的谎言神圣化。影片《广岛之恋》拍制和上映期间 ，阿伦 雷乃己经三十六岁 。雷乃比自己同时代属于法国“门阶出版社”周围的“左岸派”其它一些电影人的年岁 ，略微偏大一点 。比如执导《最后一班地铁》的特吕弗二十六岁，执导《精疲力尽》的让吕克戈达尔二十八岁 ，执导《漂亮的塞尔日》克洛德 夏布洛尔二十八岁 ，等等 。岁数大有岁数大的益处 ，相对稳重 ，而且电影的感觉深度，显得比较厚实一些 。 其实影片《广岛之恋》仍有风格边缘的主题 。故事线条虽然单纯也还是有主题 ，有情节的 ：一个不入流的法国女演员到日本拍片子 ，偶然遇到一名日本男子 ，他们迅速坠为情人。向着相互内心倾诉各自以往私情。并且认真地开始遗弃和淡忘 。通过电影细节 ，可以看到 ，在过去的二次世界大战中 ，在法国小城内韦尔 ，也是这一个无名女人 ， 跟一个战败国的士兵搞在一块儿 ， 当时的抵抗粹纳组织自然罚惩了无名女人，因为她的所谓爱情是卖国的。 随着影事推进 ， 另一个战败国的无名男人 ，成为了无名女人心中爱的替代品 。 《广岛之恋》这首歌主要是依据《广岛之恋》电影情节而创作。

首歌主要表达

歌词和故事的接触，一般没有想象中的那么，尤其是这首歌曲由著名歌手，后往往只能有一首歌曲的情节，所以不要生搬硬套，否则这将是大约怏怏不乐路交界处的下降。 声明：专门为歌曲创作歌词的情节就不说了，一般拍摄的动画片主题曲奥运会和大陆或写的故事下降。 ...... 对不起，我查过，这首歌是根据这个故事改编 手中的剧本由小说派大将马格利特多哈，描述了法国女演员艾曼纽里瓦，1957年，日本广岛，拍摄宣传电影，在返回之前遇到的日本男人不分青红皂白地的田英倍，两个婚外恋的和平。艾曼纽忽视的领域出现，记得她在法国的讷韦尔镇，与在战时的德国占领军的爱，纠缠的两个阶段的情况下，她的困惑。 不好意思，有点懵了，不介意的哦参考文献：

In my previous paper I said that À bout de souffle was an extremely complicated movie. Well, if we compare it to Resnais' Hiroshima, mon amour, it just seems to be a skilled aesthetic exercise. I think Resnais takes a further step in modern cinema intermingling influences from surrealism, modernism and the New Wave of French cinema: intimate topics, deep and changing characters, oneirism, unclear limits between reality and mind. His movie is a skilled masterpiece that really needs to be seen twice since its symbolism and action are extremely interwoven. Personally, I felt somewhat frustrated the first time I saw it. Indeed, I find that Resnais style in this film is too extreme in some ways. He twists action and mixes reality with memories in a way that makes the spectator lose his/her way once and again. On top of that, most usually action is extremely slow -quite the contrary of his colleague Godard- and takes are extremely long. Truffaut did shoot this kind of scenes, but his were also agile, attractive. Resnais is slow, exasperating, boring. We must think however that Hiroshima mon amour is a literary film, a long shot poem. The script is a literary work of art by Marguerite Duras. Indeed, dialogs are like lines in a poem, rhythmically broken, slow, as if they were declaimed instead of simply said. Resnais complements this poetry inserting strongly lyric scenes of the Japanese people and the city of Hiroshima and playing around with meaningful light, as we will see later. In my opinion, the main topic of this film is memories and how a forgotten dark past can shape our present and determine our future. Basically, the film tells the story of a woman who has gone through a painful experience in his youth: she loved a German soldier during the occupation of Nevers, her hometown in France. This caused despise from her family and her community. This is a story that she has not told ever before. But an affair with a Japanese man while she shoots a film in Hiroshima will wake up her memories. The Japanese man recalls her of her first love; let us remember for instance, when she remembers the German man hand when she sees the Japanese's -both of them have a similar hair style and color. At some point in the film, the Japanese will grow more interested in her life in Nevers -he thinks the key to win her love is there- and this will unleash harsh flashbacks in the French woman's memories. She has never told anyone: as she talks out, articulates her memories -while they are at the bar- she will experience very strong feelings. We cannot differentiate what she was feeling at the moment of the story or what she is feeling now, what is a fact and what is a memory. I find very interesting the scene in which they sit together at the bar: at some point she takes the Japanese man for her old love. She begins talking to him as if he was so. Her memories take her over and she talks what she feels, what she remembers. Light effects are magical: she is drowned in brightness while the Japanese man stays in the dark. She talks and talks and Resnais inserts the necessary flashback images. The Japanese at that moment acts as the voice of her own memory: he asks her once and again. Until a point when she suffers so dramatically that the Japanese man, the real one, slaps her in her face to wake her up. Now we find a sharp kind of awakening. While she talked everything was silent. Now, everything sound as what it is: a bar with people chattering and frogs in the dark stream outside. There are four main elements in the film that spin around the life of the French girl, whose name we do not know. Two cities: Nevers and Hiroshima. And two men: the German soldier and the Japanese man. There is a whole system of connections between these four elements in the center of which is her. Resnais uses the powerful image of Hiroshima, the sadness of the place and grief of the people to identify the sadness and grief of the Frecn girl at Nevers. On the other side, the Japanese man reminds her of the German soldier. There is not an exact parallelism between the two cities or the two men, but connections can be made. We must remember the images of the streets in Hiroshima and the images of Nevers -la Place de la République, the churches-, flowing at the same time. The beautiful but empty Loire, the dead fields of Hiroshima. Although we can see some parallelism between the two cities, Resnais ends up the film with a scene in which this relationship seems to be much stronger. 'Toi, ton nom est Hiroshima. - Et toi, ton nom est Nevers, en France'. However, I cannot figure out what is the exact relationship between the two cities: maybe a comparison between grief in the memory and actual grief in the present day. Whatever way it might be, Resnais leaves for us a cryptic, dark ending that we would have to figure out the best we can depending on the elements he has given us in the film.

957年夏的旅馆里,一对肤色完全不同的男女在床上紧紧拥抱着,在他们身上,特写的露珠时而像可怖的原子尘。 这是一段发生在异国他乡短暂恋情。女人是来自法国的女演员,在她到日本广岛拍摄影片时,与一位日本建筑工程师邂逅相爱。然而此时两人一个是有夫之妇,一个是有妇之夫。女人的拍摄工作已经结束了,她就要离开广岛,还有十六个小时,他们忘我的拥抱在一起,男人极力劝说女人留在这里,远处传来的音乐伴随着他们几乎令人窒息的激情。他们交替吟颂着这样两句话: 男:你在广岛什么也没有看见…… 什么也没有看见。 女:我都看见了,都看见了。 广岛那曾经的重创,原子弹在此爆炸的恐怖景象,似乎又出现在他们面前。 恍惚中,女人不由自主的回忆起自己在二次世界大战结束前夕同一名德国士兵相恋的经历。她似乎分不清眼前的男人是日本青年还是德国恋人,她在潜意识中,将他们等同起来了。 很快,天亮了,他们恋恋不舍的分手了。下午的和平广场上,法国女人在看台的阴影下睡着了。日本男人走来,他的凝视惊醒了她,他将她带回了家……男人问女人是否爱过别人,女人说是的,在战争年月,在内韦尔……他死了。夜幕降临,他们来到一家咖啡馆,女人给他讲起了她的故事。 14年前,她所生活的小镇内韦尔被德国人占领。然而她却与一名德国士兵相恋了。他们的恋情不能被允许,只能在断壁残垣处相会。正当他们相约逃离法国,去巴伐利亚结婚时,他的德国恋人却被法国抵抗运动的战士冷枪打死。内韦尔解放了,恐怖的记忆令她发狂。人们把她当成德国的内奸关进地窖,还剃光她的头发游街。 “也许我们永远不会再见面了。”她决定与男人分手。 回到旅馆后,她焦躁不安地感到无比孤独,又来到了晚上刚分手的那家咖啡店。男人出现了,要求她留在广岛。在爱的折磨和煎熬下,她的内心激烈地冲突着。 他们在街巷间毫无目的的走着,不知不觉中又走到她住的那家旅馆。他们痛苦地面对面站着。“我要忘记你,我已经忘记你了!”她忧伤地说。他挽着女人的腰,两人彼此深情地注视着对方,发自内心地呼喊着:“广岛!”“内韦尔!” 在他们心中,“广岛!”“内韦尔!”各是两座城市。通过他俩,广岛爱上了内韦尔。