论战争题材影片中战斗场景的流变
发布时间：2018-09-08 12:52
【摘要】：战争片作为大众所喜爱的电影的类型之一，究其原因，大体上可归纳为气势磅礴的宏大场面；激烈火爆的视听冲击力，张弛有力的节奏推进；耐人寻味的主题立意等。涉及的题材内容无论是传达亲情、友情、爱情，还是深刻的人性思考及战争反思，亦或是所表达的哲理思想都要借助于丰富多变、张弛有度的视听语言来表达。而大多数这类影片还是需要借助于战争场景的调度这一叙事段落作为桥梁，构建起整体的叙事线索。也有诸多战争题材影片以战后为叙事背景，不使用（或较少涉及）战争场景作为叙述表达的基础。战斗场景对于整部战争片来说具有重要的地位和作用：既是叙事段落的高潮部分，也为后面的叙事展开奠定良好基础的关键所在。因而对战斗场景的设置、表现既要符合观影习惯，又要注重叙事节奏的把握，故此本文从分析世界战争片和中国战争片的特征入手，通过视听语言角度分析其叙事方法的运用、剖析战斗场景设置的技巧，以此获得满足观众的视听需求的战斗场景的设置方法。本论文共分五个大的内容，引言部分是本文的研究的缘由，主要描述了本文研究主要 意义、主要目的、具体方法以及关于影视中战斗场景的叙事方法研究的现状等内容；第一章是对世界战争片特征的及其战斗场景流变的概述。第二章是战斗场景的基本叙事手段分析，此部分包含三个部分：第一部分从“空间定制”着重分析战争影片中需要确立的“特殊”的空间，主要从画面呈现的空间定制和音响的运用对空间的进一步强化，佐证这种空间的特殊性及画面中形象化信息三个方面分析。第二部分分析其渐变加速在处理战斗场景时的常用表现手法，，主要从声音与画面节奏、具体案例分析剪（接）辑形成的外部节奏两方面入手，涉及声画关系对节奏及其剪（接）辑与蒙太奇在战斗场景处理中的方法。第三部分是战斗场景及其战斗细节的表现方法，侧重于从场面调度与视点的转换来分析、突显出场面调度对丰富战斗场景意义的表达和主观视点的细节特写表达。第三章主要是分析国产战争片中战斗场景处理方式。本文以此来探讨和总结经典战争片中关于战斗场景的叙事方法的基本规律，着重于提 高战斗场景的叙事方法，借鉴经典战争片的经验和方法，以有效地促进中国军事历史战争题材影片的未来的发展。
[Abstract]:As one of the popular favorite types of films, war films can be summed up as the magnificent grand scene, intense audio-visual impact, Zhang Chi's powerful rhythm, intriguing theme, etc. The contents of the subject matter, whether it is to convey affection, friendship, love, profound thinking of human nature and war reflection, or to express philosophical ideas must be expressed by means of rich and changeable, Zhang Chi's audiovisual language. Most of these films still need to use the war scene scheduling as a bridge to construct the overall narrative clue. There are also many war films with postwar narrative background, not using (or less involved) war scenes as the basis of narrative expression. The battle scene plays an important role in the whole war film: it is not only the climax of the narrative paragraph, but also the key to lay a good foundation for the later narrative development. Therefore, the setting of battle scenes should not only accord with the habit of watching film, but also pay attention to the grasp of narrative rhythm. Therefore, this paper starts with the analysis of the characteristics of the world war films and the Chinese war films, and analyzes the application of its narrative methods from the perspective of audio-visual language. This paper analyzes the skill of battle scene setting, and obtains the method of battle scene setting to meet the audience's audiovisual demand. This paper is divided into five major contents, the introduction part is the reason of this study, mainly describes the main significance of this study, the main purpose, The first chapter is an overview of the characteristics of the world war films and the evolution of the battle scenes. The second chapter is the analysis of the basic narrative methods of the battle scene. This part includes three parts: the first part focuses on the analysis of the "special" space that needs to be established in the war film from "Space customization". This paper mainly analyzes the spatial customization and the application of sound to the space, which proves the particularity of the space and the visualization information in the picture. In the second part, the author analyzes the common expression techniques of its gradual acceleration in dealing with battle scenes, mainly from the aspects of sound and picture rhythm, and the concrete case study of the external rhythm formed by the clipping (connecting) repertoire. This paper deals with the relationship between sound and painting on rhythm and its clipping and montage methods in battle scene processing. The third part is the representation method of battle scene and its fighting details, focusing on the analysis of scene scheduling and the transformation of viewpoint, which highlights the expression of scene scheduling to enrich the meaning of battle scene and the detail expression of subjective viewpoint. The third chapter is mainly to analyze the processing methods of battle scenes in domestic war films. This paper discusses and summarizes the basic rules of the narrative methods of the battle scenes in the classic war films, focuses on the narrative methods of raising the battle scenes, and draws lessons from the experiences and methods of the classic war films. In order to effectively promote the future development of Chinese military history war film.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
本文编号：2230580
[Abstract]:As one of the popular favorite types of films, war films can be summed up as the magnificent grand scene, intense audio-visual impact, Zhang Chi's powerful rhythm, intriguing theme, etc. The contents of the subject matter, whether it is to convey affection, friendship, love, profound thinking of human nature and war reflection, or to express philosophical ideas must be expressed by means of rich and changeable, Zhang Chi's audiovisual language. Most of these films still need to use the war scene scheduling as a bridge to construct the overall narrative clue. There are also many war films with postwar narrative background, not using (or less involved) war scenes as the basis of narrative expression. The battle scene plays an important role in the whole war film: it is not only the climax of the narrative paragraph, but also the key to lay a good foundation for the later narrative development. Therefore, the setting of battle scenes should not only accord with the habit of watching film, but also pay attention to the grasp of narrative rhythm. Therefore, this paper starts with the analysis of the characteristics of the world war films and the Chinese war films, and analyzes the application of its narrative methods from the perspective of audio-visual language. This paper analyzes the skill of battle scene setting, and obtains the method of battle scene setting to meet the audience's audiovisual demand. This paper is divided into five major contents, the introduction part is the reason of this study, mainly describes the main significance of this study, the main purpose, The first chapter is an overview of the characteristics of the world war films and the evolution of the battle scenes. The second chapter is the analysis of the basic narrative methods of the battle scene. This part includes three parts: the first part focuses on the analysis of the "special" space that needs to be established in the war film from "Space customization". This paper mainly analyzes the spatial customization and the application of sound to the space, which proves the particularity of the space and the visualization information in the picture. In the second part, the author analyzes the common expression techniques of its gradual acceleration in dealing with battle scenes, mainly from the aspects of sound and picture rhythm, and the concrete case study of the external rhythm formed by the clipping (connecting) repertoire. This paper deals with the relationship between sound and painting on rhythm and its clipping and montage methods in battle scene processing. The third part is the representation method of battle scene and its fighting details, focusing on the analysis of scene scheduling and the transformation of viewpoint, which highlights the expression of scene scheduling to enrich the meaning of battle scene and the detail expression of subjective viewpoint. The third chapter is mainly to analyze the processing methods of battle scenes in domestic war films. This paper discusses and summarizes the basic rules of the narrative methods of the battle scenes in the classic war films, focuses on the narrative methods of raising the battle scenes, and draws lessons from the experiences and methods of the classic war films. In order to effectively promote the future development of Chinese military history war film.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
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本文编号：2230580
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