论图伊曼斯作品对影视语言的借鉴

发布时间：2018-08-07 21:03

【摘要】：从中世纪开始的“文字读图”时代进入了“图像时代”,各种“机器图像”充斥着人们的生活,尽管当代艺术中占据着主要地位的依旧是绘画,但绘画和机械图像的结合意味着更多偶然性和可能性。在网络数字化时代,以数码机器产生的影像资源、图像信息被人们以各种途径传播——电脑、电视、广场电子显示屏、手机等,图像资源有种趋向图像文化的发展;而架上绘画在从被边缘化中重新崛起,与许多其它审美表现的艺术形式在平等的基础上平行共存,从事绘画艺术的的艺术家们在新的环境下又能够自我反省并重新界定自己的局限。这样使得绘画不再具有防御性、边缘性。新时代的艺术家们的身份不仅是从事架上绘画的画家,也会从其他艺术身份,如摄影爱好者,电影剪辑师等,在其所学的技能中汲取营养。而在新媒体快速发展的今天,不需要客观的真实的去描述现实中的真实,也不需要在了解内部结构到外在表象后再去描写对象,而更加注重使用生活中现成的图像来表达他们的观念、思想,他们的绘画与时代是同步的。在通过对比利时艺术家吕克·图伊曼斯(Luc Tuymas,1958—)的研究发现:他不怕绘画所面临的困境。在机械图像“肆虐”期间,他通过大众媒介,且他自身在影视行业一段时间的工作,让他有了更多的接触影像的手段,乃至后来的数码化媒体影像,这些拍摄影像的经验也应用到他的绘画创作中。本文一共从五个章节进行论述。第一章为绪论,论述研究的背景和原由。第二章是对吕克·图伊曼斯的生平进行论述,有关他的绘画特征和他转行电影行业的缘由,以及为什么他最终还是回归绘画艺术。第三章是全文的重点,重点论述影视语言的相关概论和图伊曼斯作品是如何呈现了相对应的影视语言及怎样的借鉴,图伊曼斯借用这些影视语言在对其作品主旨表达时的情感体现和作品内涵深度。第四章节是结合笔者自己的创作谈对影视语言的认识,通过在研究图伊曼斯绘画作品来学习他是如何借用影视语言的,同时也可以从实践的角度指导自己如何面对当下艺术语境,进行艺术创作。第五章是总结性的话语,对于影视语言在绘画中的运用,不能被动的被科技媒介所牵引,要发现两者之间的关联性、共通性,并且要兼顾绘画语言本身的特点。通过搜集的文献资料研究、分析图伊曼斯的个人经历和艺术特征,再从其作品图册和相关展览的报道记录,加之查阅相关影视书籍,对比分析其绘画作品是如何借鉴影视语言、如何选取剪辑图像且合理的运用在绘画创作上。总之,在人工智能化的网络下,人类对技术力量的依赖会愈加明显,但是绘画作品并不是表达艺术家对所绘之物画的有多像,而是展现人类在面对未来和回顾历史时其意义的深远度。所以,不管是摄影技术还是影视媒体、先进的互联网软件,都无法代替人们用画笔来反观他们的对世界的真实感受,表达内心的愿望和实现对他者的交流。
[Abstract]:From the era of "text reading" from the Middle Ages to the "image age", various "machine images" were full of people's life. Although the main position of contemporary art is still painting, the combination of painting and mechanical image means more chance and possibility. In the digital age of the network, the digital machine is produced. Image resources, image information is spread by people in various ways - computer, television, square electronic display screen, mobile phone and so on, image resources have a kind of trend of image culture, while on the shelf, painting is rising from the marginalization, coexisting parallel with many other artistic forms on the basis of equality and engaging in painting art. Artists can introspection and redefine their limitations in the new environment. This makes painting no longer defensive and marginal. The identity of the artists in the new era is not only the painter who works on the shelf painting, but also from other artistic identities, such as the good photographers, the film clips, and so on, in the skills they have learned. In the rapid development of the new media, it is not necessary to objectively and truly describe the reality in reality, nor need to describe the object after understanding the internal structure to the external appearance, but more attention is paid to the use of the existing images to express their ideas and ideas. Their paintings are in sync with the times. The study of Luc Tuyma (Luc Tuymas, 1958), a Belgian artist, found that he was not afraid of the plight of painting. During the "ravage" of the mechanical image, he had a mass media, and his own time in the film industry, made him have more contact images, and even later digital media images. The first chapter is the introduction of the five chapters. The first chapter is the introduction, the background and the origin of the study. The second chapter is about the life of Luc Tuyma, the characteristics of his painting and the reasons for his transfer to the film industry, and why he finally returned to return. The third chapter is the focus of the full text, focusing on the related introduction of film and television language and how Tuyma's works show the corresponding film and television language and how to draw lessons from them. Tuyma borrows the emotional expression of the theme and the depth of the intension of his works by borrowing these film and television languages. The fourth chapter is a combination of the author himself. The creation of the film language knowledge, through the study of Tuyma painting to learn how he borrowed film and television language, but also from the perspective of practice to guide how to face the present artistic context, the art creation. The fifth chapter is a summary of the discourse, the use of film and television language in painting, can not be passive. It should be traced by the medium of science and technology, to find the relevance and commonality between the two, and to take into account the characteristics of the painting language itself. Through the study of the collected literature, it analyses Tuyma's personal experience and artistic features, and then from his works and related exhibitions, and the related film and television books. How does the painting draw on the film and television language, how to select the editing image and use it reasonably in the painting creation. In a word, under the artificial intelligence network, the human dependence on the technical force will become more obvious, but the painting does not express the artist's image of the painting, but shows the human being in the face of the future and retrospect. The far-reaching significance of history, therefore, no matter photography or film and television media, advanced Internet software, can not replace people to use painting to reflect their true feelings to the world, express their inner wishes and realize the exchange of the other.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J204

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