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 年代席卷全球的無(wú)數(shù)電影革命中，英國(guó)新浪潮以其原始的即時(shí)性和強(qiáng)烈的現(xiàn)實(shí)主義而脫穎而出，它呈現(xiàn)了工人階級(jí)的生活和經(jīng)歷。與英格蘭文學(xué)界的“憤怒的年輕人”一起出現(xiàn)，像托尼·理查森、卡雷爾·賴斯和林賽·安德森這樣的電影制作人開辟了新天地，他們通過表達(dá)普通英國(guó)人所感受到的挫敗感和幻滅感，用強(qiáng)硬、強(qiáng)硬的試金石來講述后來發(fā)生的事情。被稱為“廚房水槽現(xiàn)實(shí)主義”，包括回顧憤怒，周六晚上和周日早上，以及這個(gè)運(yùn)動(dòng)生活。在整個(gè) 1960 年代，約翰·施萊辛格 (BILLY LIAR, DARLING) 和理查德·萊斯特 (The KNACK . . . AND HOW TO GET IT) 等導(dǎo)演將繼續(xù)推動(dòng)運(yùn)動(dòng)的界限，將其帶入越來越表現(xiàn)主義的領(lǐng)域。? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? （谷歌機(jī)翻）