本文關(guān)鍵詞：科幻電影空間造型表現(xiàn)研究　出處：《重慶大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 科幻電影 電影空間 空間造型 表現(xiàn)手法

【摘要】：科幻電影因其突顯電影的奇觀性質(zhì)，在電影誕生之初就深受觀眾的喜愛，，成為一種重要的類型，并在當(dāng)代憑借計算機(jī)數(shù)字媒體技術(shù)的魔力，獲得可持續(xù)發(fā)展的想象空間呈現(xiàn)及敘事能力，成為最具有票房號召力的類型電影。 本文立足于科幻電影這一電影類型范疇，主要以科幻電影中的空間造型表現(xiàn)為研究對象。本文首先考察了科幻電影作為類型電影的發(fā)展歷史，發(fā)現(xiàn)其空間造型特質(zhì)是構(gòu)成該類型片的決定性因素之一，而且科幻電影空間造型的技術(shù)演進(jìn)也可以看成是整個電影技術(shù)史的主要線索。本文第二部分，在科幻電影技術(shù)史論的基礎(chǔ)上，結(jié)合對電影空間造型理論的辨析，筆者首次提出了科幻電影中空間造型的類型劃分：現(xiàn)實(shí)空間造型、非現(xiàn)實(shí)空間造型以及其間的交接界面造型。對非現(xiàn)實(shí)空間造型，又根據(jù)“可見性轉(zhuǎn)化”理論，將其細(xì)分為宇觀空間造型、微觀空間造型、夢境空間造型和賽博空間造型，并結(jié)合經(jīng)典的科幻影片對這些不同種類的空間造型表現(xiàn)進(jìn)行了細(xì)致地分析和印證。在第三部分，本文探討了科幻電影空間造型表現(xiàn)的美學(xué)問題，認(rèn)為科幻電影特有的空間造型的逼真性要求，恰恰證實(shí)了電影的真實(shí)美學(xué)基礎(chǔ)，并分析了科幻電影的空間真實(shí)性應(yīng)該置于兩個層面，即知覺層面的真實(shí)性和藝術(shù)層面的真實(shí)性，這對科幻電影空間造型的創(chuàng)作表現(xiàn)具有重要的指導(dǎo)意義。 本文通過對科幻電影及其造型表現(xiàn)技術(shù)歷史演變的辨析，提出了一個開創(chuàng)式的空間造型概念劃分，并結(jié)合經(jīng)典的科幻影片進(jìn)行其空間造型表現(xiàn)手法的探討、實(shí)例分析其運(yùn)用機(jī)制，進(jìn)而探討出科幻電影空間造型關(guān)于真實(shí)性的美學(xué)問題，從而對中國科幻電影及其空間造型表現(xiàn)的觀念和手法提出合理化意見與建議，為國產(chǎn)科幻電影發(fā)展盡一份力量。 最后，本文反觀了國產(chǎn)科幻電影創(chuàng)作領(lǐng)域的缺失與停滯，分析其具體原因，并對大力發(fā)展國產(chǎn)科幻電影提出一些可操作性的建議和意見。
[Abstract]:Science fiction film, because it highlights the fantastic nature of the film, has been loved by the audience at the beginning of its birth, and has become an important type, and in the contemporary era, it relies on the magic of computer digital media technology. To obtain the sustainable development of the imagination space and narrative ability, become the most box-office appeal of the type of film. Based on the category of sci-fi film, this paper mainly focuses on the space modeling of sci-fi films. Firstly, this paper examines the development history of sci-fi films as genre movies. It is one of the decisive factors that make up this kind of film, and the technological evolution of space modeling of sci-fi film can also be regarded as the main clue of the whole history of film technology. The second part of this paper. On the basis of the history of science fiction film technology, combined with the theory of film space modeling, the author puts forward the classification of space modeling in science fiction film for the first time: realistic space modeling. Non-realistic space modeling and the interface between the modeling. For the non-realistic space modeling, according to the "visibility transformation" theory, it is subdivided into the view space modeling, micro space modeling. Dream space modeling and cyberspace modeling, and combined with the classic science fiction film to these different types of space modeling performance has been carefully analyzed and confirmed. In the third part. This paper discusses the aesthetic problems of space modeling in sci-fi films, and holds that the realistic requirements of space modeling in sci-fi films exactly confirm the true aesthetic basis of films. It also analyzes that the spatial authenticity of sci-fi films should be placed on two levels, that is, the authenticity of perceptual level and the authenticity of artistic level, which has important guiding significance for the creation and performance of space modeling of sci-fi films. Based on the historical evolution of sci-fi film and its modeling performance technology, this paper puts forward a pioneering concept division of space modeling, and combines the classical sci-fi film to discuss the expression techniques of its spatial modeling. An example is given to analyze the mechanism of its application, and then to discuss the aesthetic problems about authenticity in space modeling of sci-fi films, and then to put forward reasonable opinions and suggestions on the concepts and techniques of Chinese sci-fi films and their spatial modeling performance. To contribute to the development of domestic science fiction films. Finally, this paper reviews the lack and stagnation in the field of domestic sci-fi film creation, analyzes its specific reasons, and puts forward some operable suggestions and suggestions for vigorously developing domestic sci-fi film.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 賈楠;;太空美術(shù)的發(fā)展之油彩藝術(shù)的宇觀架構(gòu)[J];安徽文學(xué)(下半月);2010年09期

2 張翔宇;吳航行;;中國科幻電影的現(xiàn)狀及其思考[J];電影評介;2011年13期

3 湯姆·岡寧;范倍;;吸引力電影:早期電影及其觀眾與先鋒派[J];電影藝術(shù);2009年02期

4 楊尚鴻;;3D電影:技術(shù)與藝術(shù)的悖論[J];當(dāng)代電影;2013年10期

5 羽佳;微觀,宏觀和宇觀范u囍綠絒J];安徽大學(xué)學(xué)報;1986年01期

6 何嶸;;逐格動畫制作技巧[J];影視技術(shù);2006年03期

7 馬名駒;微觀、宏觀和宇觀范疇探源[J];哲學(xué)研究;1985年05期

8 ;關(guān)于“宇觀”概念的討論[J];自然辯證法研究通訊;1966年02期

本文編號：1410541