影像中的时间研究

发布时间：2018-05-09 05:22

本文选题：影像 + 时间　；参考：《华南理工大学》2013年硕士论文

【摘要】：电影艺术是时间的刻录机，塔尔科夫斯基指出：“电影家可以把时间凝固在时间的一些痕迹中（符号中），而人们可以通过意义来感知这些痕迹。”本文基于这一伟大艺术的特性，从时间的角度进行哲学上的观照，以此进一步探讨思想走向自由的可能性。文章借鉴了影史上电影理论大家的影像理论，并从中汲取时间的相关论述，采用文献资料法、逻辑分析法、实例论证法等研究方法，对时间从不同维度进行了分析论证。文章首先立足于影像本体论，在借鉴法国哲学家德勒兹的影像理论基础上，区分了经典电影的运动——影像模式和现代电影的时间——影像模式。这两种模式并非对立关系，实则是被超越和超越的关系，这样建立起来的直接的时间——影像，才会有自由的时间。其次，文章着眼于表现时间的张力。时间虽然触不可及，却是实实在在被人们描述着、感知着，在影像中尤其明显。借助长镜头和蒙太奇，时间得以张弛有度。文章对此以《都灵之马》和一些非常典型的蒙太奇手法进行了实例对比分析论证。再次，，文章开始探究影像中的时间结构，基本上可以划分为时序性时间结构和非时序性时间结构。由于时序性的线性结构符合人们一贯的思维模式，大部分经典电影也会采用此结构去引导观影者；相对的，非时序性的时间结构安排，最初会带来一定的观影受阻，但是多元化、碎片化的解构思维，却可以带给观影者极大的解码愉悦感，参与影片完成变得其乐无穷。对此，本文以《低俗小说》和《记忆碎片》两部反传统的独立电影，来分析论证非线性叙事更能使观影者自由思想，获得更加全面的认知体验。最后，文章讨论了时间的向度。时间的单一向度被打破，呈现原始的、野蛮的、无秩序的、幻觉的最原始特性，过去、当下和未来可以同在，真实和虚幻可以共存，记忆和现实可以颠覆，时间的向度多维度开敞。
[Abstract]:Film art is a time burner, Tarkovsky pointed out: "filmmakers can solidify time in some traces of time (symbols), and people can sense these traces through meaning." Based on the characteristics of this great art, this paper makes philosophical reflection from the point of view of time, so as to further explore the possibility of thinking towards freedom. This paper draws lessons from the image theory of the film theory in the history of the film, and draws from the related exposition of time, and analyzes and demonstrates the time from different dimensions by using the methods of literature, logic analysis, case study and so on. Based on the image ontology and drawing lessons from the image theory of French philosopher de Les, this paper distinguishes the movement-image model of classical film from the time-image mode of modern film. These two models are not opposites, but are transcendence and transcendence. Thus the direct time-image can have free time. Secondly, the article focuses on the tension of time. Time, though unreachable, is actually described and perceived, especially in images. With long lens and montage, time to Zhang Chi. In this paper, a comparative analysis is made between Turin Horse and some typical montage techniques. Thirdly, the paper begins to explore the time structure in the image, which can be divided into temporal time structure and non-temporal time structure. Because the linear structure of time series accords with people's usual thinking pattern, most classical films also use this structure to guide the viewer; the relative, non-sequential time structure arrangement will initially lead to some obstructions in viewing the film. However, diversified, fragmented deconstruction can give the viewer a great sense of pleasure in decoding, and participation in the completion of the film has become a joy. In this paper, two anti-traditional independent films, "vulgar novels" and "memory fragments", are used to analyze and demonstrate that nonlinear narration can make the viewer think freely and gain a more comprehensive cognitive experience. Finally, the dimension of time is discussed. The single dimension of time is broken, presenting the primal, barbaric, disorderly, hallucinating nature of the primordial, the past, the present and the future, the truth and the illusion, and the memory and reality that can be subverted. The dimension of time is open to multiple dimensions.
【学位授予单位】：华南理工大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J90-02

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