Ep1. 解构李安-为何华人导演只有他在欧美取得主流成功？ Deconstructing Ang Lee's unorthodox success as a Chinese film director.

欢迎收听这一期的鉴谈！Now let the Jian's talkshow begin!


这一期我们来谈谈李安，他是华语电影最优秀的导演之一，近30年的电影生涯里，他凭借《卧虎藏龙》、《断背山》和《少年派的奇幻漂流》等作品曾获得各类国际电影奖项无数，包括三座奥斯卡金像奖、两届金球奖、两届威尼斯电影节最佳影片金狮奖以及两届柏林电影节最佳影片金熊奖等。


尽管目前为止，他是唯一获得奥斯卡金像奖最佳导演的华人，但当被影迷和影评人拿来跟中国第五代导演中的佼佼者如张艺谋、陈凯歌等人比较时，李安的作品常被贴上拍给外国人看、不中不西这样的标签，今天我们就从李安的父亲三部曲早期作品，《推手》和《喜宴》《饮食男女》作为切入点，探讨一下到底是什么原因导致李安在世界范围内取得成功，他的成功经验是否能为中国电影的发展给出一些启示呢？


Ang Lee, arguable one of the most prestigious film director in
all Mandarin speaking regions, is frequently criticised when
compared with China's Fifth Generation directors, such as Zhang
Yimou and Chen Kaige by movie-goers and film critics. But what
factors makes Ang Lee the only Chinese director who has achieved
a long-term career success outside of Asia? I will dive into this
topic after sharing my thoughts on  Ang Lee's well-acclaimed
"Father knows best" Trilogy, namely Pushing Hands (1991), The
Wedding Banquet (1993), and Eat Drink Man Woman (1994).


主播鉴居住在英国伦敦西区，旅英八年，曾作为新华社记者报道英国政治文化新闻；目前奋战在英国影视娱乐行业最前线，作为国际影视动画制片人和编剧，参与创意制作多部中外影视合拍作品，近距离观察中外文化创意产业在商业模式和思维方式等方面的差异。


Hosted by Jian, a former news correspondent at London bureau of
China's state news agency Xinhua, now a London based film and
animation producer and screenplay writer who has participated in
several Sino-Western Co-productions and along years have gained
first-hand experiences living and working between East and West,
and identified  various distinctions in terms of business
models and mindsets between China and the West.