本文選題：許秦豪 + 東方美學(xué)��； 參考：《湖南師范大學(xué)》2014年碩士論文

【摘要】：東方美學(xué)是與西方美學(xué)相對立的另一系統(tǒng)的美學(xué),而在其影響下也出現(xiàn)了一批深得東方美學(xué)精髓的電影導(dǎo)演和獨(dú)具東方特色的電影作品。而在作為東方國家中重要一員的韓國,許秦豪無疑是最具東方氣質(zhì)的突出代表,他的作品從各個(gè)方面不同程度地體現(xiàn)出了東方美學(xué)特色。 本文分為四個(gè)部分。第一部分探討許秦豪電影中主題思想上所表現(xiàn)出的東方意蘊(yùn),分三節(jié)對他作品中所傳達(dá)的愛情觀、生死觀和生存觀進(jìn)行分析。第一節(jié)主要是從平和與淡然、隱忍與禁忌、寬容與諒解、樂觀與期待四個(gè)角度來闡釋這種愛情觀的東方美學(xué)特色,并略帶分析了其消極悲觀之處。第二節(jié)主要分析其作品中體現(xiàn)出的重生樂死的生死觀,主要是從苦難主題的思考、執(zhí)著于生和坦然于死三個(gè)方面來分析其對苦難和生死問題的哲學(xué)思考。本部分的第三節(jié)則重點(diǎn)分析了他所傳達(dá)的人類面對自然,生活于自然中講求的天人合一的生存觀,主要是從大量實(shí)體自然界背景的運(yùn)用、其作品中季候變化與人物情感命運(yùn)變化的對應(yīng)性和人與自然的情感互滲三點(diǎn)來進(jìn)行深入分析。 文章的第二部分是從視聽語言的角度來分析許秦豪電影中鏡語系統(tǒng)詩化克制的東方特色。無論是鏡頭的拍攝、構(gòu)圖的講究還是音樂的運(yùn)用,許秦豪都將其帶上了濃厚的東方美學(xué)標(biāo)簽。本部分即從這三個(gè)方面分別作出分析。第一節(jié)從空鏡頭、長鏡頭、景深鏡頭和鏡頭的間離效果來分析許秦豪的鏡頭運(yùn)用。第二節(jié)分析許秦豪在構(gòu)圖上的東方美學(xué)特色,第三節(jié)則是從音樂的民族特色來進(jìn)行分析。 本文的第三部分著重從抒情風(fēng)格上來分析其電影所表現(xiàn)出的東方美學(xué)。第一節(jié)是從他的情感傳達(dá)手法上進(jìn)行分析,通過無言之意的傳達(dá)、相同場景的再現(xiàn)和情緒發(fā)展的鋪墊三個(gè)角度來表現(xiàn)其情感傳達(dá)手法的細(xì)膩和含蓄。第二、三節(jié)重點(diǎn)分析其在節(jié)奏把握和意境營造上的美學(xué)特色。 本文的第四部分則是對許秦豪電影中的東方美學(xué)傳統(tǒng)進(jìn)行探源,從他對東方傳統(tǒng)文化的懷戀和對東方傳統(tǒng)人文精神的關(guān)照兩個(gè)方面分析其電影中體現(xiàn)出來的東方美學(xué)特色的源頭所在。
[Abstract]:Oriental aesthetics is another systematic aesthetics that is opposite to western aesthetics, and under its influence, a number of film directors and films with unique oriental characteristics have emerged. In Korea, which is an important member of the oriental country, Xu Qinhao is undoubtedly the most prominent representative of Oriental temperament. His works embody the characteristics of oriental aesthetics in different degrees. This paper is divided into four parts. The first part discusses the oriental meaning of the theme in Xu Qinhao's films, and analyzes the views of love, life and death and survival in his works in three sections. The first section mainly explains the oriental aesthetic characteristics of this view of love from four angles of peace and indifference, tolerance and taboo, tolerance and understanding, optimism and expectation, and analyzes its negative and pessimistic aspects. The second section mainly analyzes the life and death view of rebirth, joy and death embodied in his works. It mainly analyzes his philosophical thinking on suffering and life and death from three aspects: suffering theme, persistence in life and death. The third section of this part focuses on his communication of the human face to nature, living in nature stresses the unity of nature and human survival view, mainly from a large number of physical nature of the use of the background, In his works, the correspondence between seasonal changes and characters' emotional fate changes and the mutual permeation of human and nature feelings are analyzed in depth. The second part is to analyze the oriental features of the mirror language system in Xu Qinhao's films from the perspective of audiovisual language. Whether shot, composition or use of music, Xu Qinhao with a strong eastern aesthetic label. This part makes the analysis from these three aspects. The first section analyzes Xu Qinhao's lens application from the distance effect of the aerial lens, long lens, depth of field lens and lens. The second section analyzes Xu Qinhao's oriental aesthetic characteristics in composition, and the third section analyzes the ethnic characteristics of music. The third part of this paper focuses on the lyrical style of his films to analyze the Oriental aesthetics. The first section is from his emotional communication techniques to analyze, through the speechless meaning of communication, the same scene of reproduction and emotional development of three angles to express his emotional communication techniques of exquisite and implicit. The second, third section analyzes its aesthetic characteristics in rhythm control and artistic conception construction. The fourth part of this paper is to explore the oriental aesthetic tradition in Xu Qinhao's films. From his nostalgia for the oriental traditional culture and his concern for the oriental traditional humanistic spirit, the origin of the oriental aesthetic features embodied in his films is analyzed.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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