影像中的审美意识形态——从《卡里加利》到“极简主义”

发布时间：2018-06-24 20:53

本文选题：文艺理论 + 文化理论　；参考：《河南社会科学》2017年08期

【摘要】：正早在无声电影后期,特写、摇镜、慢镜、分屏、叠印、定格、叠化、静帧、多重曝光、加速镜头等拍摄技巧就已被广泛使用,而平行剪辑、交叉剪辑、主观镜头、正/反打镜头、闪回、闪进等叙事手段也都已出现。从1920年代开始,现代主义艺术大潮席卷欧洲,一些制作者开始思考电影除却单纯的娱乐形式和商业化产品之外的功能。一系列先锋电影运动——法国印象派、德国表现主义、苏联蒙太奇,以及几番实验风潮——超现实主义、达达主义以及抽象
[Abstract]:As early as late in the silent film, shooting techniques such as close-up, rocking mirror, slow mirror, split screen, overprint, freeze, stack, static frame, multi-exposure, acceleration lens and so on have been widely used, while parallel editing, cross-editing, subjective lens, etc. Positive / negative shots, flashbacks, flashbacks and other narrative techniques have also emerged. Since the 1920s, modernist art has swept across Europe, and some producers have begun to think about the functions of films beyond mere forms of entertainment and commercial products. A series of avant-garde film movements-French impressionism, German expressionism, Soviet montage, and several experimental fads-surrealism, Dadaism, and abstraction.
【作者单位】：中国社会科学院文学研究所;
【分类号】：J905

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