数字技术时代“长镜头”的“反真实美学”特征

发布时间：2018-04-30 21:40

本文选题：数字技术 + 长镜头　；参考：《当代电影》2017年05期

【摘要】：对于电影来说,"长镜头"既是一个视听语言的术语,又是一个美学范畴的术语。如今,距巴赞纪实美学的提出已经过去半个多世纪,"长镜头"在当下电影中的运用和美学诉求也已经与巴赞时代相距甚远。随着数字技术的广泛运用,长镜头大大拓宽了电影的艺术表现力,不但可以完成以往无法想象的镜头设计,更可以打破时间和空间、真实和虚幻的限制,最大程度地为影片的主题和艺术表达服务。本文以数字技术与长镜头的结合为切入点,以当下电影中的长镜头使用,尤其是近年来墨西哥摄影师艾曼努尔·卢贝兹基掌镜的几部影片为例,发现"长镜头"的"反真实美学"特征。
[Abstract]:For the film, long lens is not only a term of audiovisual language, but also a term of aesthetic category. Now, more than half a century has passed since Bazan's documentary aesthetics was put forward, and the application and aesthetic appeal of long Lens in current films are far from the Bazan era. With the wide use of digital technology, the long lens greatly broadens the artistic expressiveness of the film. It can not only complete the lens design that was unimaginable in the past, but also break the limitations of time and space, reality and illusion. Serve the theme and artistic expression of the film to the maximum extent possible. This paper takes the combination of digital technology and long lens as the starting point, and takes the use of long lenses in current films, especially in recent years, as an example of several films by Mexican photographer Emmanuel Lubezki. Find the feature of "anti-reality aesthetics" in long lens.
【作者单位】：长安大学文学艺术与传播学院;
【基金】：2015年度教育部人文社会科学规划基金研究项目“电影影像创作前沿技术与艺术互动研究——基于技术热点的数据分析”(项目编号:15YJA760057)的阶段性成果
【分类号】：J931;TB81

【相似文献】