本文選題：聶隱娘　切入點(diǎn)：藝術(shù)風(fēng)格　出處：《電影評(píng)介》2017年08期 　論文類型：期刊論文

【摘要】：正對(duì)于一部電影的研究,應(yīng)該以電影為原點(diǎn)建立一個(gè)坐標(biāo)系�？v軸是導(dǎo)演的創(chuàng)作軌跡,從開始拍片到現(xiàn)今的藝術(shù)風(fēng)格的轉(zhuǎn)變;橫軸是電影出現(xiàn)年代的政治、經(jīng)濟(jì)、文化等的發(fā)展現(xiàn)狀,甚至要考量觀影主體的最大程度的構(gòu)成。所以,處于交點(diǎn)處的影片本文就應(yīng)該從這兩個(gè)維度進(jìn)行考察。而從大的觀影環(huán)境來看,隨著社會(huì)政治經(jīng)濟(jì)文化的飛速發(fā)展,文化空前擴(kuò)張和大眾化、泛化傾向,藝術(shù)沒有了邊界,電影的邊界也無限延伸,各種藝術(shù)的邊界模糊,高雅文化和通
[Abstract]:For the study of a film, a coordinate system should be established with the film as the origin. The vertical axis is the director's creative track, the transformation from the beginning of the film to the present artistic style; the horizontal axis is the politics and economy of the era of the film's emergence. The present situation of the development of culture and so on, even must consider the largest degree of composition of the subject. Therefore, the film at the intersection of this article should be examined from these two dimensions. But from the perspective of the large viewing environment, With the rapid development of social, political, economic and cultural, culture is expanding and popularizing, the art has no boundary, the boundary of film is also infinitely extended, the boundary of all kinds of art is blurred, elegant culture and communication.
【作者單位】： 重慶工商大學(xué)文學(xué)與新聞學(xué)院;
【基金】：重慶市社科規(guī)劃項(xiàng)目“文化公平視閾下的重慶市電影消費(fèi)生態(tài)發(fā)展研究”(2016YBYS089)的階段性成果
【分類號(hào)】：J905

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本文編號(hào)：1651325