数字时代的电影美学
发布时间：2018-08-25 10:36
【摘要】：有声电影和彩色电影的问世被称为电影技术的两次重要革命。而自21世纪初期，数字技术的大范围攻占电影艺术的“领地”后。数字技术被推上了相较于前两次技术革命同样重要的位置。数字技术是伴随计算机的广泛运用而到来的。得益于它的便捷性和创造性，电影艺术一方面开始大范围运用数字技术来对原始影像、声音等资料进行保存和转制。在这样的背景下，记录影像资料传统的介质——胶片逐渐开始备受冷落。另一方面，数字技术因其在计算机后期的影像加工上无可比拟的创造力，，正慢慢地主导着电影艺术与技术的发展。因此，有必要将数字技术对传统电影美学、理论的冲击和影响进行一个系统的梳理 本文将以先进数字技术解析为电影美学嬗变的阐述作支撑，探讨数字技术的广泛运用对传统电影美学的冲击和影响。其中将详细地分析由数字技术的出现而引导的电影假定性广义和狭义的转向和假定性内涵的拓宽，并从电影观影心理的角度分析观影者与电影假定性关系的变化。另一方面，详细地阐述数字技术对传统蒙太奇、长镜头美学的冲击和影响，探讨两者在数字背景下理论的融合和重构，并以全新的视角重新审视安德烈巴赞的摄影影像本体论在今天的意义。
[Abstract]:The advent of sound and color films has been called the two important revolutions of film technology. Since the beginning of the 21 st century, digital technology has taken over the territory of film art. Digital technology has been pushed to a position as important as the two previous technological revolutions. Digital technology comes with the wide use of computers. Thanks to its convenience and creativity, film art on the one hand began to use digital technology to save and transform the original image, sound and other materials. Against this background, the traditional medium-film for recording image data is gradually being neglected. On the other hand, digital technology is gradually dominating the development of film art and technology because of its incomparable creativity in image processing. Therefore, it is necessary to systematically comb the impact and influence of digital technology on traditional film aesthetics and theory. This paper discusses the impact and influence of the wide application of digital technology on traditional film aesthetics. It will analyze in detail the film hypothetical broad sense and narrow sense turn and broaden the hypothetical connotation guided by the appearance of digital technology, and analyze the change of the relationship between the viewer and the movie hypothetical from the angle of the film viewing psychology. On the other hand, the impact and influence of digital technology on the traditional montage and long lens aesthetics are discussed in detail, and the fusion and reconstruction of the two theories under the digital background are discussed. And from a new perspective to re-examine Andre Bazan's photographic image ontology in today's significance.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J901
本文编号：2202625
[Abstract]:The advent of sound and color films has been called the two important revolutions of film technology. Since the beginning of the 21 st century, digital technology has taken over the territory of film art. Digital technology has been pushed to a position as important as the two previous technological revolutions. Digital technology comes with the wide use of computers. Thanks to its convenience and creativity, film art on the one hand began to use digital technology to save and transform the original image, sound and other materials. Against this background, the traditional medium-film for recording image data is gradually being neglected. On the other hand, digital technology is gradually dominating the development of film art and technology because of its incomparable creativity in image processing. Therefore, it is necessary to systematically comb the impact and influence of digital technology on traditional film aesthetics and theory. This paper discusses the impact and influence of the wide application of digital technology on traditional film aesthetics. It will analyze in detail the film hypothetical broad sense and narrow sense turn and broaden the hypothetical connotation guided by the appearance of digital technology, and analyze the change of the relationship between the viewer and the movie hypothetical from the angle of the film viewing psychology. On the other hand, the impact and influence of digital technology on the traditional montage and long lens aesthetics are discussed in detail, and the fusion and reconstruction of the two theories under the digital background are discussed. And from a new perspective to re-examine Andre Bazan's photographic image ontology in today's significance.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J901
【参考文献】
相关期刊论文 前10条
1 陈犀禾;虚拟现实主义和后电影理论——数字时代的电影制作和电影观念[J];当代电影;2001年02期
2 邓光辉,唐科;乌托邦之后:电影美学在今天[J];当代电影;2001年02期
3 尹钊;;动作捕捉在影视作品中的应用[J];影视制作;2010年11期
4 童道明;;论电影的假定性[J];电影艺术;1982年10期
5 陈晨;;数字电影技术造就虚拟长镜头——浅析《人类之子》中的长镜头运用[J];大众文艺;2011年02期
6 邓烛非;;“后蒙太奇”时代到来了么?[J];电影艺术;2013年03期
7 纪丽君;;论数字技术对电影假定性美学的开拓[J];电影评介;2013年09期
8 马良;;“冻结时间”特技摄影的历史发展和演变[J];影视制作;2010年07期
9 郝大铮;;新的电影假定性[J];电影艺术;1980年08期
10 黄琳;岳莹;;论蒙太奇的嬗变[J];宁夏大学学报(人文社会科学版);2009年01期
本文编号：2202625
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2202625.html
