论影像奇观之嬗变
发布时间：2019-03-05 16:24
【摘要】：电影从诞生之初到数字时代来临,影像奇观频繁出现在观众视野。电影技术的不断升级使人类可以更加轻易的实现想象中场景的影像化,使我们可以看到万年前的古生物、千年后的星球奇观等等。这些“奇观”对电影产生了巨大的影响,这是技术和艺术完美结合的产物。本研究希望在漫长的电影史长河中梳理影像奇观的脉络,通过对影像奇观发展史的梳理,针对每一个阶段的技术特点和美学特征,并结合文本分析进行研究。本研究按照影像奇观发展的四个阶段进行分章,主要将论述以下内容:第一章为绪论。主要是对本论题的说明,包括研究原因,论题中“奇观”的释义、“影像奇观”的限定说明,以及之所以将其分为四个阶段的阐述。第二章为早期影像奇观的研究,主要针对影像奇观产生的背景进行总结,并主要对影像奇观的先驱乔治·梅里埃所拍摄的《消失的女子》、《音乐狂》、《月球旅行记》三部影片进行文本分析,从而探讨早期影像奇观的技术特点和美学特征。第三章为影像奇观发展的滞缓时期,在说明了这一时期之所以会出现发展缓慢的原因之后,对逆境而生的《金刚》进行解读,分析这一时期影像奇观的进步以及指出真实性欠缺的相关问题。第四章是对影像奇观发展的转折期的研究,转折点是《2001太空漫游》,这一时期的关键问题就是解决奇观影像的真实性问题。第五章是当代影像奇观研究,结合数字技术的发展,针对多部影片的多个特点进行逐一研究。第六章基于上述影像奇观发展史的研究提出了影像奇观发展的几个可能性。最后,对影像奇观的整个发展脉络进行总结和梳理,形成影像奇观简史。
[Abstract]:From the beginning of the birth to the advent of the digital age, film spectacles frequently appear in the audience's field of view. The continuous upgrading of film technology makes it easier for humans to visualize imaginary scenes, allowing us to see ancient creatures thousands of years ago, planetary wonders after a thousand years, and so on. These "wonders" have a great impact on the film, which is the perfect combination of technology and art. This study hopes to sort out the vein of image spectacle in the long history of film, through combing the development history of image spectacle, aiming at the technical and aesthetic characteristics of each stage, and combining with the text analysis to carry on the research. This research is divided into four stages according to the development of image spectacle. The main content will be discussed as follows: the first chapter is the introduction. It is mainly about the explanation of this topic, including the research reasons, the definition of "wonder", the definition of "image spectacle", and the explanation of the reason why it is divided into four stages. The second chapter is the study of the early image wonders, mainly aimed at the background of the image wonders, and mainly to the image spectacle pioneer George Merier shot "the disappeared woman", "Music Crazy", In this paper, three films are analyzed in order to discuss the technical and aesthetic features of the early image wonders. The third chapter is the slow period of the development of image wonders. After explaining the reasons for the slow development of this period, the author interprets the "King Kong" born from adversity. This paper analyzes the progress of the image spectacle in this period and points out the related problems of the lack of authenticity. The fourth chapter is the study of the turning point of the development of image wonders. The turning point is "2001 Space Walk". The key problem in this period is to solve the problem of the authenticity of the spectacle images. The fifth chapter is the contemporary image spectacle research, combined with the development of digital technology, aimed at the multiple characteristics of multiple films one by one. The sixth chapter puts forward several possibilities for the development of image wonders based on the research of the development history of image wonders mentioned above. Finally, the whole development of image spectacle is summarized and combed, and a brief history of image spectacle is formed.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
本文编号：2435089
[Abstract]:From the beginning of the birth to the advent of the digital age, film spectacles frequently appear in the audience's field of view. The continuous upgrading of film technology makes it easier for humans to visualize imaginary scenes, allowing us to see ancient creatures thousands of years ago, planetary wonders after a thousand years, and so on. These "wonders" have a great impact on the film, which is the perfect combination of technology and art. This study hopes to sort out the vein of image spectacle in the long history of film, through combing the development history of image spectacle, aiming at the technical and aesthetic characteristics of each stage, and combining with the text analysis to carry on the research. This research is divided into four stages according to the development of image spectacle. The main content will be discussed as follows: the first chapter is the introduction. It is mainly about the explanation of this topic, including the research reasons, the definition of "wonder", the definition of "image spectacle", and the explanation of the reason why it is divided into four stages. The second chapter is the study of the early image wonders, mainly aimed at the background of the image wonders, and mainly to the image spectacle pioneer George Merier shot "the disappeared woman", "Music Crazy", In this paper, three films are analyzed in order to discuss the technical and aesthetic features of the early image wonders. The third chapter is the slow period of the development of image wonders. After explaining the reasons for the slow development of this period, the author interprets the "King Kong" born from adversity. This paper analyzes the progress of the image spectacle in this period and points out the related problems of the lack of authenticity. The fourth chapter is the study of the turning point of the development of image wonders. The turning point is "2001 Space Walk". The key problem in this period is to solve the problem of the authenticity of the spectacle images. The fifth chapter is the contemporary image spectacle research, combined with the development of digital technology, aimed at the multiple characteristics of multiple films one by one. The sixth chapter puts forward several possibilities for the development of image wonders based on the research of the development history of image wonders mentioned above. Finally, the whole development of image spectacle is summarized and combed, and a brief history of image spectacle is formed.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
【参考文献】
相关期刊论文 前10条
1 孙瑞雪;;关于数字化影视制作中的技术和艺术融合分析[J];新闻传播;2016年01期
2 许爱珠;秦明超;;视觉文化与影像奇观——以徐克电影《智取威虎山》为例[J];创作与评论;2015年22期
3 梁明;王昱;田艳茹;吴潇枫;;数字时代的影像创作[J];当代电影;2015年02期
4 刘进华;;奇观影像与电影审美界域的拓展[J];电影评介;2013年09期
5 戴锦华;;电影究竟是奇观艺术还是叙事艺术?[J];参花(下);2013年01期
6 孙燕;;从“影像奇观”到“浪漫现实”——由《失恋33天》看中国电影的审美转向[J];中州学刊;2012年05期
7 曹毅梅;;影像的数字化创作论[J];文艺争鸣;2011年02期
8 吴敏;;我国视觉奇观电影的发展脉络与市场出路[J];当代电影;2010年06期
9 彭文祥;;影像奇观:类型化生产的因袭与创新——数字电影《阿凡达》影视类型学分析[J];现代传播(中国传媒大学学报);2010年04期
10 宫春洁;梁岩;;数字技术背景下对电影影像本体论的再思考[J];电影文学;2010年01期
，本文编号：2435089
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2435089.html
