最后一个故事我觉得立意很深刻。

人们对杀人犯的一个标签就是他是凶狠的，很少有人会想到，一个杀人犯，或许曾经也是弱者，曾被欺凌。痛恨弱者，杀掉弱者，其实是痛恨自己，无法接受自己。

安洁很可怜，没有人在安洁受到伤害时，在她无助时给予她引导和温暖，最后让她自己走向黑暗深渊，让她扭曲了对待这个世界的态度，让她自认为软弱是一种罪恶。

弱小从来都不是罪恶和错误的。弱也可以是向世界表达善意的方式。但处在一个危险世界里，如果没有保护，拥有锋利的剑也同样重要。

希望人们都可以不用拿出保护自己的锋利的剑。

实在是受不了了，女主都知道丧尸了还要凑过去，跟智障一样，这么智障的情节估计就是为了以后女主或者那个男生感染做铺垫，太脑瘫了，如果她后面没有被感染那就是更脑瘫，两次被丧尸斯哈斯哈的近距离接触，作为观众看着很生气，这么生硬的延展剧情（括号内为凑字数，打油诗一首：红尘渡口千帆过，一念于心万世珍。锦书书向红叶盟，墨香且往心头绕。一生一世一双人，半醉半醒半浮生。玲珑乖绝压群芳，灵犀一点通九窍。暮鼓晨钟知冬尽，潮落潮升报春来。菲菲细雨润花城，年华翩跹舞晨曦。光阴不语过千年，岁月回响空流连。人生执念忘川上，命途重生天涯边。春草离离繁花盛，沧桑枯荣悟苦禅。心弦轻弹非梵音，脚下大路通奇境。梦呓嘟哝露心迹，促膝叠掌约白首。）

让一个土生土长的加州导演拍这类题材的电影，确实要更生动自然一些。Mid90s，导演以自己的成长环境和时代为背景，再次将美国街头文化搬上了银幕。就像这篇的题目一样，在这部电影里导演已经不再是他人生中导演这个角色，他是一个对滑板文化充满热忱的加州boy，是他朋友们的dude，可能还是个想永远活在90s的伤感中年人。从larry Clark 到 Harmony Korine。从滑板鼻祖Dogtown Z-boys 到青年亚文化的享乐主义。一代又一代人的老去，还是有人会像对待信仰一样向街头文化致敬。

有小说做基本改编照说评分没有这么低啊，起码可以及格的。男主从皇上改成节度使，我觉得挺好的。可以避免钢筋翻历史，但是女主太监改为太医就有点勉强了，原著是怕被太医诊断出自己是女的可是从来没让太医给自己诊过脉啊，电视剧直接改成太医，我也服了。

剧版对比小说改的还是有的多，看小说男主是从怀疑自己变弯了到接受弯的事实再到田七是女的，庆幸自己没有弯的开心

剧版为了恢复田七有些虐心，但是小说恢复女儿身有些粗糙，直接在朝堂之上公布

写在前面：这是我本科通识课堂上用英文写的一篇影评。因为我并没有受过电影学或者性别研究相关的写作训练，难免有些词用得不够恰当。原文里也许还有语法错误或者表达不当的地方，也请谅解。

Although based on an ungendered perspective, the 1987 film Human, Woman, Demon by Huang Shuqin depicts the development of a woman's selfhood that can be interpreted through her "desire for and denial of the female identity" (172; 219). The protagonist, Qiuyun, has fully devoted herself to her theatrical career as the male lead to get away with the traumatizing experiences from childhood, which contributed to her adolescent disorientation in gender identity and career goals. Being a respected mid-aged woman, her mind is continually being torn apart by the binary gender roles that socio-ideologically enforced on her, as she maintains as a masqueraded model of manliness/masculinity on stage and a wife-mother figure in unfulfilling family life (219). The film's ending embodies her reconciliation with her inner struggles as she finds peace and her female subjectivity in communion with her ghost persona on stage.

In a seamless, panning transition of the camera, the scene edited before Qiuyun's final reconciliation with the opera ghost depicts the very beginning of her life through the narrative of an elderly midwife. The midwife recalls the day of Qiuyun's birth (94:27-94:35) and how she turned out to be a girl to her father's surprise, as he had presumed her to be a boy until the midwife examined her body, "When I took a look at you, I didn't see the manhood. You are really a girl! /等我一看啊，少了那个玩意儿…是个小姑娘家!（笑）." In addition to her conversation with her father after the village banquet, I think that Qiuyun's reunion with the midwife foreshadows the emancipation of her repressed female identity. Appearing as a new character in the next-to-last scene, my understanding is that the midwife serves symbolic purposes as an incarnation of the proper womanhood and Qiuyun's guide out of the identity dilemma.

Based on the few lines, it is not difficult to observe that the midwife is an attentive, keen person and the only female character that has ever shown benignancy to Qiuyun throughout the film. Even that colleague who babysits her younger child is indifferent to her complaints about her husband (74:01), not to mention the town girls who left her helpless in public ostracism (40:43) and the other students in the opera troupe. The midwife is also an antithesis to Qiuyun's mother, for the former welcomes her female body into the world, while the latter makes her deny the female identity. According to Cui, the screen space can be seen as "a psychological world suggesting the characters' potential thoughts and feelings" (236). The amber color palette in this scene creates a heart-warming atmosphere, making the midwife a maternal figure, moreover, a model of morality that the heroine never had.

Not only does their brief reencounter (93:27-94:35) recognize her female identity as inevitable and naturally given, it also amends the pains the protagonist has endured for the pursuit of the female identity. Caught up in the gossip of a sexual scandal with teacher Zhang, one of the male figures that evoke her desire to secure a female identity, the young Qiuyun is voiceless and frantically spreads her face with a hideous masquerade of red and black paints (70:15). She has smeared down the colors with both hands and caressed her cheeks before she has the meltdown (69:56-70:12). It is then she realizes that she has no one to seek guardian from. In the post banquet scene, which supposedly happens many years after the scandal, another pair of hands fondles along her cheeks. The midwife touches Qiuyun as gentle as possible when she expresses her joy in finding out Qiuyun's female identity (94:35). Both scenes have the visual of the heroine centered within the frame in a close-up shot and the same motion of hands. They are filmed with low-key lighting in dark background in the same camera angle as well. Qiuyun, in both timelines, is the subject of the screen space and her psychological world. Apart from the costume and make-up, the two scenes are parallel to each other yet convey distinctive messages based on each scene's mood. The teenager Qiuyun is under anxiety and imbalanced by her choice of gender, and she goes into self-destruction as the hands fall and carry her cheeks; The mid-aged Qiuyun is happy to see her old acquaintance, and then she reveals a genuine grin—a sign of self-salvation.

【详细】

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上头啦上头啦～从开始知道《海洋之城》播了十几集到现在每天收直播追，，，我经历了什么啊哈哈哈哈哈哈

没错，我没什么高级审美，就喜欢这种天天“作妖”的剧情。。。要知道我从来都是只看完结剧的～～如果不够作早就弃坑了( ^_^)

??关于剧情

其实可以见得整个编剧团队的野心。在局限的场景——游轮里展现人生百态，其戏剧性冲突之密集，人性倾轧之复杂，在硬核的整合之下显得并不凌乱，多线并行，怎一个精彩了得～

能看到关于很多社会热点问题的探讨吧╰(*′︶`*)╯阿兹海默症候群生存质量、职场倾轧、职业选择家庭干预、事业与爱情的抉择、ptsd（错误引导范式）人本主义……

可能还有领养（我猜菲儿是不是船上的孤儿）啊、大男子主义大观啥的

每次作妖我都特别开心地吐槽hhhhhh实不相瞒 俺每天都在官博话题底下嚷嚷“给爷天天住rs啊～～～”

??关于选角和表演

我其实是女主王丽坤的演员粉啦～当年在微博上看到本剧剧照的时候我就淡出了hhhh好在没有错过嘿嘿嘿～

看的时候就可以预见女主傻白甜肯定是受人诟病最多的点了hhhh不过～坤哥演技实在是可以，我还真的在无语和哀其不幸的界线里看见了自己的影子～srds还是挺无奈的吧～我坤早年演过那么多高智商谍战英雄，演过艳的演过纯的，回过头来搞傻白甜。。。谁不唏嘘一句 啊市场经济 呢。。。但小姑娘在别人的不力上面找优越感真的是主流吗（或者是策划到现在过太久了，这个痛点已经不痛不痒地“疗愈”了呢。。。

所以啊，我又在这里认识了一个神仙小姐姐雅玫嘿嘿嘿～安妮的气质真的太高级啦～从神色到身形到穿着再到言谈举止，总有那么一点点难以描述的东西自然流露（据说有一种物化叫“37℃ 女”，但俺就比较没有见识没有见过这种类型的小姐姐）我回忆了一下下那些有名有利有rs的的女演员……不是太装就是太作。。。大概这就是内在美吧╰(*′︶`*)╯安妮的人设简直了，给编剧加鸡腿嘿嘿嘿～

至于男主，总感觉那个内眼线和烈焰红唇完全可以说是全剧妆最重的了（dbq实话实说嘿嘿嘿～演技的话，总觉得张老哥没什么观众缘，演得我也没仔细看哈哈哈哈哈哈反正就这么看下来了（主要是我有本命了别人怎么样就不好评判了…我的问题

一直看本剧催眠自己 哦我每天的外语学习渠道hhhhh）配角拉胯的也特别少，选角导演加加加鸡腿～

??我的疑惑

一般看剧，剧组有钱没钱一眼就能看出来哈哈哈，这个就很谜～有实景有室内……游轮旅游我倒是没怎么去过，但船还是乘过的，我感觉没有那么稳，在夹板或者走廊里走路真的是控制不住地走“w”型hhhh

不过可能只搭个船没那么贵？总之看不出很有钱，但是剧情的路铺得很满，演员也是天南海北哪的都有（是不是还有国外的外景hhh然后吧，bgm和原声大碟真是省钱到无以复加哈哈哈哈哈哈哈片尾曲是咱们唐爸唱的是不是啊hhhhhhhhhhhh我坤哥吟唱有进步啊哈哈哈哈哈哈