论许秦豪电影的东方美学

发布时间：2018-04-26 01:12

本文选题：许秦豪 + 东方美学　；参考：《湖南师范大学》2014年硕士论文

【摘要】：东方美学是与西方美学相对立的另一系统的美学,而在其影响下也出现了一批深得东方美学精髓的电影导演和独具东方特色的电影作品。而在作为东方国家中重要一员的韩国,许秦豪无疑是最具东方气质的突出代表,他的作品从各个方面不同程度地体现出了东方美学特色。本文分为四个部分。第一部分探讨许秦豪电影中主题思想上所表现出的东方意蕴,分三节对他作品中所传达的爱情观、生死观和生存观进行分析。第一节主要是从平和与淡然、隐忍与禁忌、宽容与谅解、乐观与期待四个角度来阐释这种爱情观的东方美学特色,并略带分析了其消极悲观之处。第二节主要分析其作品中体现出的重生乐死的生死观,主要是从苦难主题的思考、执着于生和坦然于死三个方面来分析其对苦难和生死问题的哲学思考。本部分的第三节则重点分析了他所传达的人类面对自然,生活于自然中讲求的天人合一的生存观,主要是从大量实体自然界背景的运用、其作品中季候变化与人物情感命运变化的对应性和人与自然的情感互渗三点来进行深入分析。文章的第二部分是从视听语言的角度来分析许秦豪电影中镜语系统诗化克制的东方特色。无论是镜头的拍摄、构图的讲究还是音乐的运用,许秦豪都将其带上了浓厚的东方美学标签。本部分即从这三个方面分别作出分析。第一节从空镜头、长镜头、景深镜头和镜头的间离效果来分析许秦豪的镜头运用。第二节分析许秦豪在构图上的东方美学特色,第三节则是从音乐的民族特色来进行分析。本文的第三部分着重从抒情风格上来分析其电影所表现出的东方美学。第一节是从他的情感传达手法上进行分析,通过无言之意的传达、相同场景的再现和情绪发展的铺垫三个角度来表现其情感传达手法的细腻和含蓄。第二、三节重点分析其在节奏把握和意境营造上的美学特色。本文的第四部分则是对许秦豪电影中的东方美学传统进行探源,从他对东方传统文化的怀恋和对东方传统人文精神的关照两个方面分析其电影中体现出来的东方美学特色的源头所在。
[Abstract]:Oriental aesthetics is another systematic aesthetics that is opposite to western aesthetics, and under its influence, a number of film directors and films with unique oriental characteristics have emerged. In Korea, which is an important member of the oriental country, Xu Qinhao is undoubtedly the most prominent representative of Oriental temperament. His works embody the characteristics of oriental aesthetics in different degrees. This paper is divided into four parts. The first part discusses the oriental meaning of the theme in Xu Qinhao's films, and analyzes the views of love, life and death and survival in his works in three sections. The first section mainly explains the oriental aesthetic characteristics of this view of love from four angles of peace and indifference, tolerance and taboo, tolerance and understanding, optimism and expectation, and analyzes its negative and pessimistic aspects. The second section mainly analyzes the life and death view of rebirth, joy and death embodied in his works. It mainly analyzes his philosophical thinking on suffering and life and death from three aspects: suffering theme, persistence in life and death. The third section of this part focuses on his communication of the human face to nature, living in nature stresses the unity of nature and human survival view, mainly from a large number of physical nature of the use of the background, In his works, the correspondence between seasonal changes and characters' emotional fate changes and the mutual permeation of human and nature feelings are analyzed in depth. The second part is to analyze the oriental features of the mirror language system in Xu Qinhao's films from the perspective of audiovisual language. Whether shot, composition or use of music, Xu Qinhao with a strong eastern aesthetic label. This part makes the analysis from these three aspects. The first section analyzes Xu Qinhao's lens application from the distance effect of the aerial lens, long lens, depth of field lens and lens. The second section analyzes Xu Qinhao's oriental aesthetic characteristics in composition, and the third section analyzes the ethnic characteristics of music. The third part of this paper focuses on the lyrical style of his films to analyze the Oriental aesthetics. The first section is from his emotional communication techniques to analyze, through the speechless meaning of communication, the same scene of reproduction and emotional development of three angles to express his emotional communication techniques of exquisite and implicit. The second, third section analyzes its aesthetic characteristics in rhythm control and artistic conception construction. The fourth part of this paper is to explore the oriental aesthetic tradition in Xu Qinhao's films. From his nostalgia for the oriental traditional culture and his concern for the oriental traditional humanistic spirit, the origin of the oriental aesthetic features embodied in his films is analyzed.
【学位授予单位】：湖南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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