日本导演松本俊夫的实验影像研究

发布时间：2018-06-28 18:54

本文选题：松本俊夫 + 实验电影　；参考：《西北大学》2014年硕士论文

【摘要】：实验影像虽然由来已久,然而由于其主要侧重于创作者主观意识的表达,往往以概念的具象化作为作品的主体,无论在画面与声音的叙事或表意功能上,几乎不遵循以往的视听语言经验,试图突破条条框框,从画面与声音带给观众的感官体验作为切入口,开拓画面与声音的表现力,甚至用极端方式挑战观众的视觉、听觉,因此多数时间以小众文化的传播形态生存在夹缝之中。松本俊夫作为上世纪六七十年代活跃在日本实验影像领域的艺术家,亲自执导过《蔷薇的葬礼》、《十六岁的战争》、《修罗》、《脑髓地狱》四部实验长片以及《Ginrin》、《石油的起源》等二十多部实验短片。松本俊夫尝试通过用最现代的科技手段拍摄的作品来表现古代印度哲学思想,他的实验包括让观众亲身体验人类感知极限并且由此投入一种认识论的眩晕。同时他以自己的梦作为题材拍摄了一系列实验影像短片,这些作品为观众提供了彻底全新的感官体验。松本俊夫对于实验影像的广泛尝试达到了一种通过动态图像进行沉思的方式,图像在他那里被认为是类似记忆的遗迹。松本俊夫在保持实验性创造的同时,亲自在日本引进了帕索里尼的思想和符号学以及戈达尔在电影方面的破坏和解构的实验性特征。作为一个电影导演,他尝试了不同的电影类型同时涉及了大量的题材,从纪录片到故事片,中间还有非常个人化的电影和使用数个同时的屏幕的装置艺术。松本俊夫自由地探索了20世纪发明的图像的所有表达方式,另外他在日本也一直处于美学思考的前卫位置,他的立场决定影响了整整一波在世界艺术创新领域的研究者和活动者。
[Abstract]:Although experimental images have a long history, because they mainly focus on the expression of the creators' subjective consciousness, they tend to take the concrete form of concepts as the main body of their works, whether in the narrative or ideographic functions of pictures and sounds. Almost do not follow the previous audio-visual language experience, try to break through the rules, from the picture and sound to the audience's sensory experience as a portal, to explore the picture and sound expression, and even in extreme ways to challenge the audience's vision, hearing, Therefore, most of the time to the spread of minority culture in the form of survival in the gap. Toshio Matsumoto, as an artist active in the field of experimental imaging in Japan in the 1960s and 1970s, He has directed more than 20 experimental short films, such as the funeral of Rosa, War at the age of 16, Shura, four experimental features in Hell of the brain and Ginrin, the Origin of Petroleum. Matsumoto tries to express the ideas of ancient Indian philosophy by using the most modern techniques of science and technology. His experiments include letting the audience experience the limits of human perception and thereby putting in an epistemological dizziness. At the same time, he took his dream as the subject of a series of experimental video clips, which provided the audience with a completely new sensory experience. Matsumoto's extensive attempt at experimental images has achieved a way of meditating through moving images, which he considers to be a relic of similar memories. While maintaining his experimental creation, Matsumoto personally introduced Panzorini's ideas and semiotics in Japan, as well as Godal's experimental characteristics of destruction and deconstruction in movies. As a film director, he tried different types of films and involved a lot of subjects, from documentaries to feature films, and very personal movies and installation art using several simultaneous screens. Matsumoto has freely explored all the expressions of images invented in the 20th century, and he has been at the forefront of aesthetic thinking in Japan. His position has affected a whole wave of researchers and activists in the world of artistic innovation.
【学位授予单位】：西北大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】