《我不是潘金莲》的画幅建构与美学表达
发布时间：2018-07-25 20:14
【摘要】：正画幅作为观众观看影片的窗口和边界,更多的是一种外在的静止的呈现形式,不具备过多的表意特征。随着导演对影视语言和技术的不断开拓和运用,一些导演通过改变画幅来影响人们理解故事的观念和态度。例如,导演安德森在《布达佩斯大饭店》中,创造性地使用了三种画幅来表现故事的不同时代。冯小刚在《我不是潘金莲》中,通过紧密扣合故事发
[Abstract]:As the window and boundary of viewing the film, the front picture is more a kind of external static presentation form, without too many ideographic features. With the continuous development and application of film and television language and technology, some directors influence people's understanding of the story by changing the picture frame. In the Grand Budapest Hotel, for example, director Anderson creatively uses three different pictures to represent the different times of the story. In "I am not Pan Jinlian," Feng Xiaogang sends the story through a tight clasp.
【作者单位】： 南阳理工学院文法学院;中国传媒大学;
【分类号】：J905
本文编号：2144956
[Abstract]:As the window and boundary of viewing the film, the front picture is more a kind of external static presentation form, without too many ideographic features. With the continuous development and application of film and television language and technology, some directors influence people's understanding of the story by changing the picture frame. In the Grand Budapest Hotel, for example, director Anderson creatively uses three different pictures to represent the different times of the story. In "I am not Pan Jinlian," Feng Xiaogang sends the story through a tight clasp.
【作者单位】： 南阳理工学院文法学院;中国传媒大学;
【分类号】：J905
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