奥斯卡影像再现和表现机制研究

发布时间：2018-08-13 20:16

【摘要】：再现和表现是一切艺术的两种最基本的生产机制。然而，百年以来的电影学界对再现和表现这样一个极端重要的艺术元问题无人问津。具体到奥斯卡艺术，很多学者都把精力集中到关于奥斯卡奖评选机制和单个作品的分析评价上。显然，这些研究无法回答和解释奥斯卡影像魅力的深层机制。本论文首次将研究视角对准这一学术空白领域，目的在于揭示和阐明奥斯卡影像特有的再现和表现机制，探索奥斯卡影像独特的美学原理，为中国电影的国际化路径指明方向。本论文以“自由情感美学”为基本审美思想，以系统观为考察研究材料的基本视角，以近百年奥斯卡金像奖和其他奥斯卡单项奖作品为主要研究材料，综合运用实证研究、思辨研究、比较研究三种研究方法，对奥斯卡影像再现和表现艺术机制进行解析。论文主要论证奥斯卡影像的表演、时间、空间、色调、镜头运动、构图、修辞、片名这八种影像语言的表达机制。表演是电影艺术的突出美点之一。“成功的表演”是演员的职业伦理和至高诉求，也是电影观众的视野期待。奥斯卡艺术被公认为商业价值和美学价值的双重胜利，其中演员的本色表演是一个重要的领先的艺术机制。本色表演的影像风格呈现为直观真实，高度凝聚观众注意力，强烈激发自由情感；其内在机制则在于最大限度地再现和表现人性，在极为性格化的角色塑造中最终实现主观与客观、普遍性与特殊性的统一。这就是奥斯卡表演艺术的精髓。电影的时间性使其成为一门娓娓道来的动的艺术。奥斯卡影像对时间的运用有其优越和不足之处。内部时间以再现现实客观世界时间为基础，尊重人的认知规律；其他内部时间致力于从生理和心理上满足人对事件的求知和审美需要，让人在遗忘时间中达到移情效果。外部时间的情节点设置会影响电影的胶片时间。胶片时间过长的影片人性关照不足，导致情节高潮不能与观众的情绪高潮产生共振，有碍自由情感的生发。电影空间是电影影像的本体，呈现为连续的二维动画结构，是视觉美学的核心。奥斯卡影像空间的构建基于人的视觉原理和认知规律，从不制造难以理解的视觉空间，而是着力构建逼真、新奇、平衡、匀称等尽可能符合人类审美定律的画面空间。这与某些欧洲电影刻意追求修辞空间，有意阻拒观众视觉通达的艺术电影追求拉开了距离。影像色调以一种既模糊又有一定导向的方式辅助影像传达情感和意义。奥斯卡影像的色调运用以表达人性为终极目的，以逼真塑造生活实体为基本宗旨，避免花哨浮躁的形式主义，有的放矢地挑战观众的视觉审美经验，力求取得色调再现和表现的完美平衡，因此最具激发观众自由情感的潜力。镜头运动是电影的基本叙事手段和造型手段。不同于欧洲电影以艺术家的主观理念表达为出发点的创作原则，奥斯卡影像的镜头运动基于人的生理和心理需求，，力求使人性得到充分的关照和表达。从整个镜头运动机制来看，奥斯卡影像寻求并践行镜头运动再现和表现的中庸点，使其镜头运动能够发挥最高德性，以最大限度地激发观众的自由情感。构图是镜头的基本单元，也是电影艺术形式美学的基础。不同于欧洲电影在镜头构图上的抽象形式理念，奥斯卡影像创造了纯粹形式、表意形式和表情形式三种主要构图原则，形成了独具特色的形式美学。纯粹形式以直观真实为基本手段最大限度地满足观众的视觉欲求，奇观是纯粹形式的典型标志。表意形式和表情形式则以思想内容和情感意蕴的表达为核心组织画面，这两种画面构图的组织和创造无一例外地建立在丰厚的人性审美经验基础上，因而很容易激起观众强烈的自由情感，并以此与其他电影艺术构图美学划清了界限。修辞是使影像从普通物到艺术品的跳板。奥斯卡影像的修辞有其独特的表达机制。她将艺术家的审美理念与大众的接受能力有机结合，既有“度”上的思量，也有“量”上的考究；将现实理性与艺术感性巧妙连结，引发观众对人性本真的思考；使影像中的真、善、美互相引发，相映生辉，激起观众强烈的自由情感。片名是展示电影神采的最好平台，是电影中唯一合法且极为重要的文字表现。奥斯卡影像中美的片名能激发观众的自由情感，它们或者借助原著或片中著名元素的影响力平步青云；或者从形式、内容、意蕴上打造自身，构成一种令人无限想往的意境。而其片名表达并没有竖起统一的美学标杆，部分片名游离在美的范畴之外。总的来说，奥斯卡影像通过合理地运用再现和表现的方法对“人性”这一艺术命题进行了充分的把握、观照和关照，将科学理性与艺术感性、商业性与艺术性空前完美地融合在了一起，从而能够看似毫不费力地激发观众强烈的自由情感，成为世界电影的楷模。奥斯卡影像的再现和表现机制为我国电影走出国门走向世界提供了有力的借鉴。
[Abstract]:Reproduction and expression are the two most basic production mechanisms of all arts. However, the film circles have been ignoring such an extremely important artistic element as reproducing and expression for centuries. These studies can not answer and explain the deep mechanism of the glamour of Oscar images. This paper focuses on this academic blank field for the first time, aiming at revealing and clarifying the unique reproduction and expression mechanism of Oscar images, exploring the unique aesthetic principles of Oscar images, and pointing out the direction for the internationalization of Chinese films.
This dissertation takes "free emotional aesthetics" as the basic aesthetic thought, takes the system view as the basic angle of view to investigate the research materials, takes the Oscar Academy Award and other Oscar award works as the main research materials, comprehensively uses empirical research, speculative research, comparative study of three research methods, to Oscar image reproduction and performance art. This paper mainly demonstrates the expression mechanism of the eight image languages: performance, time, space, tone, lens movement, composition, rhetoric and film title.
"Successful performance" is the actor's professional ethics and the highest appeal, and is also the vision of the film audience. Oscar art is recognized as a double victory of commercial and aesthetic values, in which the actor's performance is an important leading art mechanism. The image style of the performance of the true color. The inner mechanism is to reproduce and express human nature to the greatest extent, and ultimately realize the unity of subjectivity and objectivity, universality and particularity in the extremely personalized role-building. This is the essence of Oscar performing arts.
The timeliness of movies makes it a vivid art. Oscar images have their advantages and disadvantages in the use of time. Internal time is based on the reappearance of real and objective world time, respecting people's cognitive laws; other internal time is devoted to satisfying people's need for knowledge and aesthetic appreciation of events, both physically and psychologically. The setting of emotional nodes in the external time will affect the film time. The lack of human care in the film for too long leads to the fact that the climax of the plot can not resonate with the emotional climax of the audience and hinders the generation of free emotion.
The construction of Oscar's image space is based on the principle of human vision and cognitive law. It never creates difficult visual space, but focuses on the construction of realistic, novel, balanced and symmetrical pictures which conform to the law of human aesthetics as far as possible. Space. This is a long way from the pursuit of rhetorical space in some European films, which intentionally obstructs the visual access of the audience.
The use of tones in Oscar's images is aimed at expressing human nature as the ultimate goal, realistically shaping the entity of life as the basic purpose, avoiding flashy formalism, and challenging the audience's visual aesthetic experience in a purposeful way so as to achieve a new tone. The perfect balance between performance and performance, therefore, has the potential to arouse audience's free emotion.
The motion of the lens is the basic narrative and modeling means of the film. Unlike European films, which are based on the artist's subjective ideas, the motion of the lens of the Oscar image is based on human physiological and psychological needs, and strives to make human nature be fully taken care of and expressed. Seeking and practicing the golden mean point of lens motion reproduction and performance can make its lens movement play the highest virtue and stimulate the audience's free emotion to the greatest extent.
The composition is the basic unit of the lens and the foundation of the aesthetics of the form of film art.Unlike the abstract concept of form in the composition of the lens in European films, Oscar images create three main principles of composition: pure form, ideographic form and expressive form, which form a unique formal aesthetics.Pure form is based on intuitive reality. Duan satisfies the audience's visual desire to the greatest extent, and the spectacle is a typical sign of pure form. The ideographic form and the expressive form organize the picture with the expression of ideological content and emotional implication as the core. The organization and creation of these two kinds of picture composition are all based on rich human aesthetic experience, so it is easy to arouse the view. Strong emotions of freedom, and draw a clear line with other film art aesthetics.
Rhetoric is the springboard from ordinary objects to artworks. Oscar's image rhetoric has its unique expression mechanism. She combines the artist's aesthetic ideas with the public's reception ability organically, both in terms of "degree" and "quantity"; cleverly links the realistic reason with the artistic perception, triggering the audience's authenticity of human nature. Thinking, making the real, good, and beautiful in the images trigger each other, reflect each other's brilliance, and arouse the audience's strong free emotion.
Titles are the best platform to show the beauty of a film and the only legitimate and important written expression in the film. The titles in the Oscar films can stimulate the audience's free emotions, either by means of the influence of the famous elements in the original works or films, or by means of the form, content, and connotation to create themselves, forming a kind of nihility. The expression of film titles does not set up a unified aesthetic benchmark, and part of the film titles dissociate from the category of beauty.
Generally speaking, Oscar's image fully grasps the artistic proposition of "human nature" by reasonably using the methods of representation and expression, observes and takes care of it, and perfectly combines scientific rationality with artistic sensibility, commercialism with artistry, so as to seemingly effortlessly stimulate the audience's strong free emotion. As a model of the world film, the reproduction and expression mechanism of Oscar images provide a powerful reference for Chinese films to go abroad and go to the world.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

【参考文献】