论顾长卫电影中的生命意识
发布时间：2018-11-10 15:28
【摘要】：被称为“中国第一摄影师”的顾长卫曾经与张艺谋、陈凯歌等导演一起将中国的电影推向世界。转行做导演之后，顾长卫用近十年的时间“磨”出了自己的“时代三部曲”和一部微电影。丰富的从影经历与深厚的艺术积淀熔炼了其作品不凡的艺术水准和独特的美学风貌。正如顾长卫自己所言“电影里有他对生命的理解”，其作品虽然截取不同的时代背景，但始终聚焦于普通生命所闪耀的光辉，更透析着生命深处的矛盾，彰显着强烈而悲悯的生命意识。 一切艺术的根源都是生命，生命意识的产生源于对生和死的体认和感悟。与“第五代”导演的“家国情怀”和“第六代”导演的“个体叛逆”不同，顾长卫的电影温暖而平静。他更关注生命本身，通过对生命力与困缚的精确展示，传达出生命深处的悲鸣。顾长卫影片的题材、主题、艺术基调中处处蕴涵着生命意识。他始终关注着小人物的理想及其与现实之间的对撞。除了表达“欣赏和敬意”之外，其影片更有对生命无法摆脱的“长度”“宽度”“深度”的清醒认识：生命有限、死亡威胁、时代、地域、自我认知、伦理等“限制”，不无残酷地揭示着生命的某种“真相”，引发观众对自我与本我的严肃思考。“向死而生”，而后获得一种积极的人生态度，这也许是顾长卫电影的真诚力量所在。除了内容中丰富的“生命意识”，作为“形式”的艺术基调也浑然一体地包孕着这种精神内核：充满诗意、简约质朴、冷峻而不失生命张力的影像风格，“静中有动”的叙事节奏，方言和民俗的运用，都对电影主题的表达起到了强大的助力作用。 顾长卫与作家阎连科等人的合作，，反映了中国当代电影与文学在精神向度上的又一次深深的共鸣与融合。《孔雀》、《最爱》在票房上的成功也显示了顾长卫在艺术与商业间寻找平衡的有效探索。这在中国电影日趋多元化和国际化的今天，价值是明显的。同时，我们也应该看到其电影的不足之处：《最爱》叙事上的残缺、《龙头》的深涩难懂等，体现了电影表达与电影接受上的不对称，这不仅是顾长卫需要探究的，更是中国电影崛起之路上的一个重要课题。
[Abstract]:Known as "China's first photographer," Gu Changwei, with directors Zhang Yimou, Chen Kaige and other directors, pushed Chinese films to the world. After switching to directing, Gu Changwei spent nearly a decade "grinding" his time trilogy and a micro-film. The rich film experience and deep artistic accumulation have refined his works' extraordinary artistic level and unique aesthetic style. Just as Gu Changwei himself said, "there is his understanding of life in the film," although his works capture different backgrounds of the times, his works always focus on the brilliance of ordinary life, and even more dialysis the contradictions in the depths of life. It shows a strong and compassionate sense of life. The root of all art is life, and life consciousness comes from the understanding and understanding of life and death. Different from the "family feelings" of the fifth generation director and the "individual rebellion" of the sixth generation director, Gu Changwei's film is warm and calm. He pays more attention to life itself and conveys the deep sorrow of life through the accurate display of life force and bondage. Gu Changwei's theme, theme and artistic tone contain life consciousness everywhere. He has always been concerned about the ideals of small people and their collision with reality. In addition to expressing appreciation and respect, the film has a sobering understanding of the "length," width, "and" depth "that life cannot escape: the limits of life, death threats, times, geography, self-perception, ethics, and so on. It is cruel to reveal some kind of "truth" of life, causing the audience to think seriously about self and ego. Life to death and a positive attitude towards life may be the true strength of Gu Changwei's films. In addition to the rich "life consciousness" in the content, as the artistic tone of "form", the artistic tone also contains this kind of spiritual core: the image style full of poetical, simple, cold but without losing the life tension, The narrative rhythm, dialect and folklore play a powerful role in the expression of movie theme. Gu Changwei's cooperation with author Yan Lianke and others reflects another deep resonance and fusion of Chinese contemporary films and literature in their spiritual dimensions. The box office success also shows Gu Changwei's effective quest for a balance between art and business. This is in Chinese movie day by day diversification and internationalization today, the value is obvious. At the same time, we should also see the inadequacies of its films: the incomplete narration of "favorite", the deep astringency and incomprehensibility of "bibcock", which reflects the asymmetry between film expression and film acceptance, which is not only the one that Gu Changwei needs to explore. It is also an important subject on the way of the rise of Chinese film.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
本文编号：2322828
[Abstract]:Known as "China's first photographer," Gu Changwei, with directors Zhang Yimou, Chen Kaige and other directors, pushed Chinese films to the world. After switching to directing, Gu Changwei spent nearly a decade "grinding" his time trilogy and a micro-film. The rich film experience and deep artistic accumulation have refined his works' extraordinary artistic level and unique aesthetic style. Just as Gu Changwei himself said, "there is his understanding of life in the film," although his works capture different backgrounds of the times, his works always focus on the brilliance of ordinary life, and even more dialysis the contradictions in the depths of life. It shows a strong and compassionate sense of life. The root of all art is life, and life consciousness comes from the understanding and understanding of life and death. Different from the "family feelings" of the fifth generation director and the "individual rebellion" of the sixth generation director, Gu Changwei's film is warm and calm. He pays more attention to life itself and conveys the deep sorrow of life through the accurate display of life force and bondage. Gu Changwei's theme, theme and artistic tone contain life consciousness everywhere. He has always been concerned about the ideals of small people and their collision with reality. In addition to expressing appreciation and respect, the film has a sobering understanding of the "length," width, "and" depth "that life cannot escape: the limits of life, death threats, times, geography, self-perception, ethics, and so on. It is cruel to reveal some kind of "truth" of life, causing the audience to think seriously about self and ego. Life to death and a positive attitude towards life may be the true strength of Gu Changwei's films. In addition to the rich "life consciousness" in the content, as the artistic tone of "form", the artistic tone also contains this kind of spiritual core: the image style full of poetical, simple, cold but without losing the life tension, The narrative rhythm, dialect and folklore play a powerful role in the expression of movie theme. Gu Changwei's cooperation with author Yan Lianke and others reflects another deep resonance and fusion of Chinese contemporary films and literature in their spiritual dimensions. The box office success also shows Gu Changwei's effective quest for a balance between art and business. This is in Chinese movie day by day diversification and internationalization today, the value is obvious. At the same time, we should also see the inadequacies of its films: the incomplete narration of "favorite", the deep astringency and incomprehensibility of "bibcock", which reflects the asymmetry between film expression and film acceptance, which is not only the one that Gu Changwei needs to explore. It is also an important subject on the way of the rise of Chinese film.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
【参考文献】
相关期刊论文 前10条
1 汤姆·泰克沃,皇甫一川;《快跑,劳拉》导演阐述[J];当代电影;2000年06期
2 顾长卫;杨远婴;梁明;李道新;杨晓云;;《立春》[J];当代电影;2008年03期
3 覃嫦;;《孔雀》:生命咏叹调[J];电影文学;2005年04期
4 刘进;;充满张力的叙事艺术——电影板块结构论[J];电影文学;2008年01期
5 薛媛;;电影《孔雀》艺术风格刍议[J];电影评介;2006年11期
6 申宁;许乐;;从《孔雀》到《最爱》——论顾长卫导演作品的风格及寓意[J];电影评介;2011年14期
7 冯凝;;只谈风月不谈魔术——电影《最爱》的症候与探因[J];电影评介;2011年18期
8 熊丽;陈慧芳;;从方言运用看顾长卫电影新现实主义风格[J];电影评介;2011年19期
9 刘卉青;;《最爱》之观众接受分析[J];电影评介;2011年20期
10 ;专访顾长卫：我想讲的是理想的重生[J];电影世界;2008年02期
相关硕士学位论文 前2条
1 张明芳;张艺谋电影论[D];中国艺术研究院;2002年
2 郭苗苗;电影节奏的构成因素[D];华中师范大学;2009年
本文编号：2322828
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2322828.html
