试论顾长卫电影中的诗意性

发布时间：2018-05-12 23:01

  本文选题：诗意电影 + 诗意性　； 参考：《云南大学》2013年硕士论文

【摘要】：从摄影师转型成为导演的顾长卫,迄今为止只拍摄了三部影片：《孔雀》、《立春》和《最爱》。这三部影片从电影反映的内容,到部分的创作方法,都体现了鲜明的纪实风格。然而,顾长卫电影的艺术性不仅在于此。还在于它在表面的日常生活的记录背后,隐藏着一些内在的、除了客观再现事物之外的诗意性。如此的诗意性,不仅让我们感受到顾长卫关于现实历史的表达和关怀,同时也让我们看到顾长卫是如何在艺术性与商业性之间找到平衡点。为此,本文试图以“诗意性”为切入点,对顾长卫电影进行分析。 文章首先介绍关于西方诗电影的相关理论和总结诗电影的特点,并分析西方诗电影对中国电影的影响,概括出中国诗意电影的特点；其次,分别解读顾长卫三部影片中日常生活的诗意性。而这样的诗意性是导演通过诗意电影的特点塑造出主人公们对人性和理想的坚守呈现出来的,如此呈现不仅让我们看到了生命的精彩,也感受到了平淡生活中诗意的韵昧,这样诗意韵味的传达是导演由形而下的平淡生活中挖掘出来的,体现出来的不仅仅是生存的诗意,也是人性的诗意和生命的诗意。它们本身就具有感人的力量,就是一种诗意的发现；然后分析顾长卫电影中叙事策略的诗意性,从注重内心冲突的叙事手法、主观介入的叙述视角、怀旧情绪的表达三个方面来进行阐述。正是这样的叙事策略的表达,使他的电影有种“此时无声胜有声”的诗意,从而穿透庸常的表面,带给我们诗意的想象和哲理的体悟。最后文章通过影片的意境营造、色彩运用两个角度来阐述顾长卫电影影像风格的诗意性。让我们看到顾长卫电影在西方诗电影的基础上,融入了“东方诗学”所推崇的意境之美,从而使我们既看到电影形式的诗意美,也感受到电影内容的诗意美。 通过以上对顾长卫电影诗意性的阐述,我们能看到顾长卫电影诗意性的艺术价值及从中表达出来的对生活和人的关怀,同时也看到顾长卫的电影是如何能在艺术性与商业性之间找到平衡点,从而使我们对生活和个人有所思考,并且对中国电影产业的发展能提供一些借鉴。
[Abstract]:Gu Changwei, who transformed from photographer to director, has made only three films so far: Peacock, the Beginning of Spring and favorite. The three films reflect the content of the film, to part of the creative methods, reflect a distinctive documentary style. However, the art of Gu Changwei's films is more than this. It also lies in the fact that behind the record of superficial daily life, there are some inherent poetic features except objective reappearance of things. Such poetic nature not only makes us feel Gu Changwei's expression and concern about the real history, but also lets us see how Gu Changwei finds a balance between artistry and commerce. Therefore, this paper tries to analyze Gu Changwei's films from poetic point of view. The article first introduces the relevant theories about the western poetry film and summarizes the characteristics of the poem film, analyzes the influence of the western poetry film on the Chinese film, and generalizes the characteristics of the Chinese poetic film. Separately unscramble Gu Changwei in the three films daily life poetical. And this poetic nature is created by the director through the characteristics of poetic movies to portray the protagonists' adherence to human nature and ideal. Such a presentation not only makes us see the brilliance of life, but also feels the poetic charm of plain life. The poetical appeal is excavated by the director from the plain life, which reflects not only the poetic meaning of existence, but also the poetic meaning of human nature and life. They themselves have touching power, which is a poetic discovery, and then analyzes the poetic nature of narrative strategies in Gu Changwei's films, from the perspective of focusing on the narrative techniques of inner conflict and subjective intervention. The expression of nostalgia emotion in three aspects. It is the expression of this narrative strategy that makes his films have the poetic meaning of "silence is better than sound", thus penetrating the surface of commonplace, bringing us poetic imagination and philosophical understanding. Finally, the article expounds the poetic character of Gu Changwei's film image style from two angles of artistic conception construction and color application. Let us see that Gu Changwei's films, on the basis of the western poetic films, incorporate the beauty of artistic conception in Oriental Poetics, so that we can not only see the poetic beauty of the film form, but also feel the poetic beauty of the film content. Through the above elaboration of the poetic nature of Gu Changwei's films, we can see the artistic value of the poetic nature of Gu Changwei's films and the concern for life and people expressed from them. At the same time, we can see how Gu Changwei's film can find a balance between artistry and commercial, so that we can think about life and individual, and can provide some reference for the development of Chinese film industry.
【学位授予单位】：云南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;J901

【参考文献】

中国期刊全文数据库 前10条

1 张晓s，

本文编号：1880521