英国新浪潮

Of the myriad cinematic revolutions that swept the globe in the 1950s and ’60s, the British New Wave stood out for the raw immediacy and intense realism with which it rendered working-class lives and experiences. Emerging alongside the “angry young men” of England’s literary scene, filmmakers like Tony Richardson, Karel Reisz, and Lindsay Anderson broke new ground by giving voice to the frustrations and disillusionment felt by average Britons in tough, hard-hitting touchstones of what came to be known as “kitchen-sink realism,” including LOOK BACK IN ANGER, SATURDAY NIGHT AND SUNDAY MORNING, and THIS SPORTING LIFE. Throughout the 1960s, directors such as John Schlesinger (BILLY LIAR, DARLING) and Richard Lester (THE KNACK . . . AND HOW TO GET IT) would continue to push the boundaries of the movement, taking it into increasingly expressionistic, fanciful, and experimental territory that reflected the liberated spirit of swinging-sixties London.

在 1950 年代和 60 年代席卷全球的无数电影革命中，英国新浪潮以其原始的即时性和强烈的现实主义而脱颖而出，它呈现了工人阶级的生活和经历。与英格兰文学界的“愤怒的年轻人”一起出现，像托尼·理查森、卡雷尔·赖斯和林赛·安德森这样的电影制作人开辟了新天地，他们通过表达普通英国人所感受到的挫败感和幻灭感，用强硬、强硬的试金石来讲述后来发生的事情。被称为“厨房水槽现实主义”，包括回顾愤怒，周六晚上和周日早上，以及这个运动生活。在整个 1960 年代，约翰·施莱辛格 (BILLY LIAR, DARLING) 和理查德·莱斯特 (The KNACK . . . AND HOW TO GET IT) 等导演将继续推动运动的界限，将其带入越来越表现主义的领域。                                                                                                                          （谷歌机翻）