本文關(guān)鍵詞： 電影 視覺時(shí)代 場(chǎng)面營(yíng)造　出處：《電影文學(xué)》2017年12期 　論文類型：期刊論文

【摘要】：在當(dāng)代,電影已經(jīng)進(jìn)入視覺時(shí)代,影像越來越成為制約電影人發(fā)揮藝術(shù)想象以及激勵(lì)觀眾消費(fèi)的重要因素。精心營(yíng)造的場(chǎng)面由于有著極強(qiáng)的視覺吸引力和對(duì)觀眾情緒上的刺激效果,不僅已經(jīng)是我們談及當(dāng)代電影藝術(shù)時(shí)不可忽視的內(nèi)容,也成為電影在進(jìn)行市場(chǎng)營(yíng)銷時(shí)的宣傳側(cè)重點(diǎn),甚至在部分電影中,敘事相對(duì)于場(chǎng)面而言已居于從屬地位。文章從技術(shù)支持與奇觀的制造、審美距離的切換、詩意與紀(jì)實(shí)的互動(dòng)三方面,分析視覺時(shí)代電影的場(chǎng)面營(yíng)造。
[Abstract]:In the contemporary era, the film has entered the visual age. Video has increasingly become an important factor that restricts filmmakers to exert their artistic imagination and stimulate audience consumption. Due to its strong visual attraction and emotional stimulation to the audience, the carefully created scenes are becoming more and more important. It is not only the content that can not be ignored when we talk about contemporary film art, but also become the focal point of propaganda in the marketing of the film, even in some movies. The narrative has been in a subordinate position relative to the scene. This paper analyzes the scene construction of the visual age film from the aspects of technical support and the manufacture of wonders, the switching of aesthetic distance, and the interaction between poetry and documentary.
【作者單位】： 長(zhǎng)江師范學(xué)院;
【分類號(hào)】：J904
【正文快照】： 自電影誕生之后,除早年盧米埃爾兄弟時(shí)期風(fēng)格較為質(zhì)樸的紀(jì)實(shí)性拍攝外,后繼的電影主創(chuàng)往往精心地選擇并構(gòu)建各類場(chǎng)面,由一個(gè)個(gè)場(chǎng)面組成的影像構(gòu)成了電影最外在的、能夠被觀眾直接感知的賞析層面。而在當(dāng)代,電影被普遍認(rèn)為已經(jīng)進(jìn)入視覺時(shí)代,影像越來越成為制約電影人發(fā)揮藝術(shù)想，

本文編號(hào)：1449573