本文選題：電影藝術(shù)　切入點(diǎn)：《刺客聶隱娘》　出處：《四川戲劇》2017年09期 　論文類(lèi)型：期刊論文

【摘要】：《刺客聶隱娘》在碎片化的敘事結(jié)構(gòu)下,回歸影像本身,以中國(guó)古典詩(shī)意誠(chéng)意對(duì)話觀眾。影片沿襲了侯孝賢導(dǎo)演一貫奉行的文化底蘊(yùn)路線和視聽(tīng)美學(xué)的電影觀念,以隱忍克制的敘事語(yǔ)言,寫(xiě)實(shí)平淡的場(chǎng)景設(shè)置,對(duì)中國(guó)古代美學(xué)進(jìn)行了視覺(jué)上的臨摹,對(duì)復(fù)雜社會(huì)中的人性進(jìn)行了極富詩(shī)意的解構(gòu)。影片從整體寫(xiě)意到細(xì)節(jié)寫(xiě)實(shí),無(wú)一不彰顯出主創(chuàng)團(tuán)隊(duì)極度高超的美術(shù)技藝和審美情趣。影片復(fù)活了中國(guó)傳統(tǒng)詩(shī)意美學(xué)的風(fēng)骨,對(duì)中國(guó)電影在全球化時(shí)代強(qiáng)化自身的美學(xué)坐標(biāo)和文化訴求提供了寶貴的借鑒與啟示價(jià)值。
[Abstract]:Under the fragmented narrative structure, the assassin Nie Yin Niang returns to the image itself and talks with the audience with the sincerity of Chinese classical poetry. The film follows the cultural background line and audio-visual aesthetic concept that director Hou Hsiao-hsien has always pursued. With the narrative language of forbearance and restraint, the setting of realistic and plain scenes, the visual copy of ancient Chinese aesthetics and the poetic deconstruction of human nature in complex society are carried out. The film is from the whole freehand brushwork to the detail realistic. All of them demonstrate the extremely superb art skills and aesthetic taste of the creative team. The film revives the strength of Chinese traditional poetic aesthetics. It provides valuable reference and enlightenment value for Chinese film to strengthen its aesthetic coordinate and cultural appeal in the era of globalization.
【作者單位】： 重慶理工大學(xué)管理學(xué)院;西南大學(xué)新聞傳媒學(xué)院;
【基金】：2015年國(guó)家社科基金藝術(shù)學(xué)西部項(xiàng)目“青春電影的道德價(jià)值審視與重建”(項(xiàng)目批準(zhǔn)號(hào):15EC172)的中期研究成果
【分類(lèi)號(hào)】：J901

【相似文獻(xiàn)】

相關(guān)期刊論文 前1條

1 嵇紹波;;父愛(ài)永不言棄[J];電影畫(huà)刊(上半月刊);2011年11期

，

本文編號(hào)：1584249