影像的程式:《小城之春》视点研究补遗

发布时间：2018-01-26 18:26

本文关键词： 电影艺术费穆德勒兹《小城之春》影像程式视点　出处：《艺术百家》2017年03期 　论文类型：期刊论文

【摘要】：有关电影视点的研究是西方电影学重要的课题,许多著名的电影学者、导演都参与了讨论,德勒兹就此提出了著名的"伴存在"(感知—影像)理论,认为电影中存在着主客不分的诗意化表现手段。运用这一理论能够较好地阐释我国电影《小城之春》的诗意化表现,可以从中归纳出"声画对位""主客间"和"看—非看"等三个方面的主要特征。从《小城之春》诗意构成的源头,可以看到中国电影美学不同于西方电影美学之处,西方电影美学的源头是二元对立的模仿说,从而讲究对于现实的"沉迷",而费穆电影中的美学却是处处试图规避这一"沉迷",形成了一种出入于主客视点之间拓扑式的、节奏化和韵律化的表现,造就了一种可以被称为"影像程式"的中国电影美学。
[Abstract]:The research on the viewpoint of film is an important subject in western cinematology. Many famous film scholars and directors have participated in the discussion, and Deleuze has put forward the famous theory of "Perceptual existence" (Perceptual Image). The author thinks that there is a poetic expression method in the film, which can better explain the poetic expression of the film "Spring of small Town" in our country. From this, we can conclude the main features of the three aspects of "the matching of sound and painting", "between the subject and the object" and "see-not to look", from the source of the poetic composition of "Spring of small Town". It can be seen that Chinese film aesthetics is different from western film aesthetics. The source of western film aesthetics is the theory of imitation of dualistic opposition, thus paying attention to the "addiction" to reality. However, the aesthetics in Femu's films is trying to avoid this "addiction" everywhere, forming a kind of topological, rhythmic and rhythmic expression which is different from the subjective and objective viewpoints. It has created a Chinese film aesthetics which can be called "image program".
【作者单位】：华东师范大学传播学院;
【分类号】：J905
【正文快照】： 费穆拍摄于1948年的电影《小城之春》被公认电影制作的头15年左右,它还没有被当做一种风格是体现了中国电影美学的范例(1),同时也是一部具有策略来运用;那段时期流行的是所谓人物场景造型风“诗性品质”[1]372的早期中国电影代表作。因而对《小格,用一个单镜头来表现整个场景

【相似文献】