伊文思纪录片创作理念与实践探析

发布时间：2018-01-13 21:38

本文关键词：伊文思纪录片创作理念与实践探析　出处：《陕西师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：伊文思在六十多年的纪录片创作生涯中坚持使用影像展示他的世界观和信仰。尽管伊文思一生致力于纪录电影的创作,但大部分观众都没有理解其影片的真正含义,自始至终对他的评价都是毁誉参半。电影界在认可他“电影诗人”的身份后,对其后期发展褒贬不一。伊文思纪录电影创作的时期,也是伊文思电影美学观念的发展期,创作理念在影片中得到具体的展示。1989年标志着伊文思电影的终结,但伊文思电影的研究则应逐渐走向成熟。目前关于伊文思美学观念更为深层次的探究并未见到,理论研究尤为缺乏,本文将理论与具体实证分析相结合,力争避免单纯的理论研究。笔者结合之前人们对伊文思作品的研究,探索了伊文思电影中不断改变的风格和独具特色的表现方式,以及创作动机和创作目的。通过对尤里斯·伊文思的人生历程和创作过程的梳理,借鉴前人的方法将其划分为四个阶段：20世纪20年代——先锋电影阶段；30、40年代——“左翼”电影阶段；60、70年代——“直接电影”阶段；80年代——超现实主义阶段。选取了每个时期典型的作品,分析研究每个时期的故事结构和技术手段的特征,并与同时代其他导演作横向比较。文章主体分为五个部分,第一部分概述了伊文思的成长环境,分析了影片《桥》和《雨》,探寻“先锋诗人”的由来。第二部分对伊文思的身份进行了界定,即“社会宣传家”和“电影战士”的区别,分析与同时代导演弗拉哈迪、维尔托夫、格里尔逊的异同,解析了影片《博里纳奇矿区》和《四万万人民》。第三部分通过对《上海第三医药商店》和《球的故事》的详细解读,分析了影片《愚公移山》的特色,比较《愚公移山》和安东尼奥尼的《中国》在拍摄背景与初衷,创作视角手法、拍摄技巧和影响。第四部分通过对影片《风的故事》的情节和意向的解读,分析其创作观念的转变。第五部分阐释了伊文思与中国的关系,以及伊文思作品对后世的影响。文章通过分析不同时代的典型作品得出如下结论：伊文思与众不同的电影观念在他的一生及其纪录电影的创作过程中都在不断地体现着,简而言之,他所坚持的是在处理被拍摄者和事件时,创作者具有“重新建构”的权力。在他看来创作者对真实性的观察和感觉要远远重要于事件表面所显示的真实性。正是在这一理念的坚持,伊文思认同合理性的“搬演”。伊文思终其一生都在寻求电影内容的内在真实与表象真实的统一,为此他选择了纪录影像来表现内心感受,在影片中融汇不同时代的流行语言,探求最为有力的表现方式,并将这种体验传达给观众。
[Abstract]:Throughout his more than 60 years of documentary writing, Evans has consistently used images to show his world view and beliefs, despite his lifelong commitment to documenting the creation of films. But most of the audience did not understand the true meaning of his film, and his comments were mixed from beginning to end. The film industry recognized him as a "film poet". The period of Evens' recording film creation is also the development period of Evans' film aesthetic concept. Creative ideas are shown in the film. 1989 marks the end of Evans' film. However, the study of Evans film should gradually become mature. At present, the deeper research on the esthetics concept of Evans has not been seen, especially the lack of theoretical research, this paper combines the theory with the concrete empirical analysis. Strive to avoid pure theoretical research. Combined with previous studies on Evans' works, the author explores the changing style and unique expression of Evans' films. And the motive and purpose of creation. By combing the life course and creative process of Uriz Evans, we divide it into four stages: 20s of the 20th century, the stage of pioneer film, using the methods of predecessors. The 1940s-the stage of the film "left wing"; The "direct film" stage in the 1960s; 80s-surrealism stage. The typical works of each period are selected, the characteristics of story structure and technical means of each period are analyzed and studied, and compared horizontally with other directors of the same era. The main body of the article is divided into five parts. The first part summarizes the growing environment of Evans, analyzes the film "Bridge" and "Rain", and explores the origin of "Pioneer Poet". The second part defines the identity of Evans. Namely "Social propagandists" and "Film Warriors" the difference between the analysis and contemporary directors Flahatti, Wiltov, Gleason similarities and differences. In the third part, through the detailed interpretation of Shanghai third Medicine Store and the Story of Ball, the characteristics of the film "Yugong moving to Dashan" are analyzed. Comparing the background and original intention of shooting, the technique of visual angle of creation, shooting skill and influence between "Yu Gong" and Antonioni's "China". 4th part through the interpretation of the plot and intention of the film "the Story of Wind". Part 5th explains the relationship between Evans and China and the influence of Evans' works on later generations. By analyzing the typical works of different times, this paper draws the following conclusion: Evans' unique concept of film is constantly reflected in his life and in the process of his documentary film creation, in short. What he insists on is dealing with the subject and the incident. The creator has the power to "reconstruct". In his view, the creators' observation and feeling of authenticity is far more important than the apparent authenticity of the event. Evans agreed with the rational "moving". Evans sought the unity of the inner truth and the apparent truth of the film content all his life, so he chose the recording image to express his inner feelings. In the film, the popular language of different times is combined to explore the most powerful way of expression, and to convey the experience to the audience.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J952

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