肖申克的救赎论文文献

留个记号，有了回答我要来这里看看，很喜欢这部影片，一直想不明白它为什么不敌《阿甘正传》

观后感的表达方式灵活多样，基本属于议论范畴，但写法不同于一般议论文，因为它必须是在观看后的基础上发感想。简单来说就是观赏过后的感触，重要是描写感受，具体如下：

在影片中，有人在改变，也有人在习惯。影片中的“肖申克监狱”隐喻着一个相对封闭的社会环境，对于在监狱里呆了50年的老托马斯来说，改变意味着毁灭；但对于年轻而富于激情的安迪来说，改变则是一种救赎。

《肖申克的救赎》其实是对自我的一种救赎。斯蒂芬金这位悬疑大师也只是想通过这样的方式告诉人们，追求自我的人生并非只是一个梦想，只是在于自己怎么去做。不管结果怎么样，这个过程很重要。

该片触及的是人类永恒的主题和当下的不可回避困境。电影的结构比原小说更精当，台词比原小说更有节奏感，更加有所推敲锤炼、也更有深意，人物形象比原小说更鲜活有力。导演以丰富、机巧的艺术文本，将自由精神高扬在天地之间。

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主要剧情：20世纪40年代末，小有成就的青年银行家安迪因涉嫌杀害妻子及她的情人而锒铛入狱。在这座名为肖申克的监狱内，希望似乎虚无缥缈，终身监禁的惩罚无疑注定了安迪接下来灰暗绝望的人生。未过多久，安迪尝试接近囚犯中颇有声望的瑞德，请求对方帮自己搞来小锤子。

以此为契机，二人逐渐熟稔，安迪也仿佛在鱼龙混杂、罪恶横生、黑白混淆的牢狱中找到属于自己的求生之道。他利用自身的专业知识，帮助监狱管理层逃税、洗黑钱，同时凭借与瑞德的交往在犯人中间也渐渐受到礼遇。

表面看来，他已如瑞德那样对那堵高墙从憎恨转变为处之泰然，但是对自由的渴望仍促使他朝着心中的希望和目标前进。而关于其罪行的真相，似乎更使这一切朝前推进了一步。

删掉一些就可以了在我们自己的现实中，我们注定是自己剧中的主角，而电影给我们一个局外人的机会，所以我们经常喜欢以一个局外人角色从影片中寻找自己、审视自己，总喜欢从电影中寻找生活、审视现实。这一次我看到最多的是体制下的自由和永不熄灭的希望、压抑下的友谊以及善恶的归宿。片中瑞德关于监狱高墙的一番话语发人深省：“刚入狱的时候，你痛恨周围的高墙；慢慢的，你习惯了生活在其中；最终你会发现，自己不得不依靠它而生存。”监狱就是如此的将一个人彻底改造，狱中计算时间的单位不是日月年，而是以十年为一个计量单位。当看到忽然间岁月已逝，生命的旅程只能以时间为刻度的时候，任何人的希望都会消失殆尽。瑞德曾经告诫安迪：“希望是危险的东西，它是精神苦闷的根源。”然而倔强的安迪始终坚信着希望，没有一刻不在构筑着自己的希望，而且他一直试图用图书和音乐重新点燃狱友们的希望。肖申克就如现实社会的一个缩影，那里有最广大的“遵纪守法”的市民，有横行街市的恶霸，有滥用职权的当道者，有巧取豪夺的投机者，当然有潜伏伺机而发的智者。肖申克中生存体制又如当今社会体制，“痛改前非”的人一次次被重新投入黑暗之中，当权者干着肮脏的勾当却会在公众面前宣讲“拯救之道”，似乎只有当性格没有棱角，思想失去火花，被“体制化”的人们习惯逆来顺受的时候才可以平安生存。影片中当瑞得“因没有报告而撒不出一滴尿”时，伴我的不是发笑而是颤栗：体制可怕啊！老布在光明到来时因无法承受阳光的照耀而选择死亡，那一幕，我看到的不是老布悬挂着的身躯，而是个性与思想的死亡。“制度化”这三个字最大的含义，或许不是真正的体制，而是我们所依赖的生活习惯。平时，我们依靠习惯生活，也在超越着习惯，但最多可以有限度地实现个人的自由，就象安迪一样拯救了自己，却也拯救不了集体。瑞德一直在努力“改过自新”，却又无助习惯性地生活着，最终在最后的每十年一次的假释审查时，留给我们一段经典的台词：“我没有一天不在后悔，但并非受惩罚才后悔。我回首前尘往事，那个犯下重罪的小笨蛋。我想和他谈谈，我试图讲道理，让他明白什么是对什么是错，但是我办不到，那个少年早就不见了，只剩下我垂老之躯。”我想瑞德绝不是对审查者说这番说，而是说给我们芸芸众生。是啊，生在人世间的你我凡人，在不知不觉中，便会在习惯性的生活状态中耗费掉自己的生命。很多时候，我们会说：如果能够回到过去，能够纠正那些走错的路、做错的事、说错的话，该有多好！如此，我们会面对那些爱错或没有爱错的人，会用所有的激情和真诚再博一次。可是，世上没有如果，我们无法回到过去。再次经历了140分钟听觉与视觉的洗礼，没想到这次依然被感动的差点热泪盈眶，影片中真挚的情感让我想起来了社会上流行的“四大铁”，我想铁窗肯定应该也算“同过窗的”吧！《肖申克的救赎》无疑是一部励志的杰作，影片的一切似乎都在表明：日常生活埋葬着所有的希望和梦想，以及对幸福、自由、友谊和爱情的感知能力。面对挫折、艰难、失败，是消沉还是奋进，是坚持还是弃守，是偃旗息鼓还是励精图治，《肖申克的救赎》给了我们一个明确的答案。

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"The Shawshank Redemption," with Tim Robbins, Morgan Freeman, Bob Gunton, Clancy Brown, and James Whitmore. Written and directed by Frank Darabont, based on the short novel "Rita Hayworth and Shawshank Redemption," by Stephen King. City Centre. "R" - Restricted; profanity, violence, mature content. Prisoners of Hope -- 'Shawshank Redemption' Melodramatic but RewardingBy Jeff ShannonWhen trustworthy colleagues told me they found "The Shawshank Redemption" either too long or vaguely disappointing, I must confess I was mystified. As the credits rolled after my first viewing, I was certain I'd seen one of the best movies of the year. After a second viewing (a rare luxury for reviewers these days), I understood my friends' complaints but my initial opinion held firm. It's true that Frank Darabont, making an otherwise remarkably assured directorial debut, could use a lesson in pacing and editorial economy, and from a detached perspective "The Shawshank Redemption" is likely to seem cleverly but deviously manipulative. It's by no means a perfect movie. But like "Field of Dreams," this movie about perseverance, ingenuity, and hope in the face of hopelessness held a greater personal significance - an emotional connection to a well-told story that transcended whatever niggling reservations I might have formed. Judging from the applause that followed both screenings I attended, there's clearly something to "The Shawshank Redemption" that many people will find, well . . . redeeming. It's in many ways a standard prison movie, beginning in 1947 when a New England banker named Andy (Tim Robbins) is wrongly convicted for the murder of his adulterous wife and her lover, and sentenced to two life terms in the Shawshank State Prison in Maine. There he meets Red (Morgan Freeman), another lifer who's "a regular Sears Roebuck," serving as Shawshank's primary supplier of smuggled goods and contraband. The corrupt, Bible-thumping warden (Bob Gunton) is a joylessly hissable villain straight out of the Snidely Whiplash school of melodrama, as is his vile and violent head guard, played with mule-headed brutality by the ever-effective Clancy Brown. Providing moral counter-balance are the prison's oldest inmate (a welcomed return for James Whitmore), and the close-knit members of Red's benevolent gang who, like Red, see in Andy a unique and optimistic spirit. Their admiration deepens when Andy earns rare privileges (by cooking the warden's books and filing the guards' tax returns) and mounts a successful campaign to build New England's finest prison library. But every privilege has a greater cost, and "The Shawshank Redemption" turns into a dark journey of the soul, with Andy cleverly and patiently awaiting his chance at freedom. To say that Robbins is too inexpressive is to miss the subtle, internalized grace of a finely calibrated performance. Like a sly bluffer who knows just when to tip his hand, Robbins portrays Andy as a man who can survive torture, threat, and psychological terrorism because he's matched his inward faith with an outward defense. The latter gives the movie its almost mythological payoff, delivered in tandem by the equally excellent Freeman, whose wise narration rises Andy's uplifting story to almost legendary status. Sharply adapted by Darabont from a novella by Stephen King, the film has been mounted with physical authenticity, but as a kind of adult fable it should not be confused with reality. There's a slightly artificial tidiness to the story, and it won't grab you if you aren't immediately hooked. But as it spans nearly two decades in the enduring friendship of Andy and Red, "The Shawshank Redemption" accumulates the kind of spiritual depth that comes from taking a path well chosen. The journey may not be a smooth one, but the destination is well worth the effort.

我这里有几个小看法，你参考一下吧。安迪的性格在电影里，其实已经提示得很明显了。文章可以从瑞德的一段话着手：I have to remind myslef that some birds aren't meant to be caged.Their feathers are just too bright.And when they fly away,the part of you that knows it was a sin to lock them ukp does rejoice.羽翼光亮，说明他聪明，有才华，入狱之前，他的社会地位也不低，说明他有上进心，负责任。但她的妻子不那么爱或者说是了解他：My wife used to say I'm a hard man to know,like a closed book.....God ,I loved her.I didn't know how to show it,that's all.他的才华是内秀的，不善言辞，但心性利玲。同时也不善于处理人际关系。他内向，但不代表懦弱，当别人欺负他的时候，他不屈服，会还击。狱中与别人起冲突，事实上也为他日后越狱埋下了一个伏笔，这个可以和其他几个狱友的经历相对比，别人是First you hate them .Then you get used to them .Enough time passes, you get so depend on them .That's "institutionazed".但是他不一样，从这点看来，他其实是有思想领袖气质的。同时，在表现上，他也不是和中国文人的那种秀弱，A man working outdoors feels more like a man if he can have a bottle of suds .That's only my opinion.他们在户外做事情，瑞德认为那才是一个像是真正的男人，他也确实是一个真正的男人，有耐心毅力，自己认准的事情就要做到底。这些都是几个比较突出的方面吧，因为也看了有一年多了，忘了很多，但肯定还有其他值得挖掘的地方。然后再就是在电影里面找场面细节的安排吧，用事实说话。呵呵，希望对你有用。