發(fā)布時(shí)間：2018-04-27 20:14

  本文選題：電影音樂(lè) + 王家衛(wèi)��； 參考：《河北大學(xué)》2014年碩士論文

【摘要】：電影成為綜合藝術(shù)之后，音樂(lè)仍保持著本身所具有的藝術(shù)表現(xiàn)的特殊性。如擅長(zhǎng)抒情、不擅長(zhǎng)敘事、需要聽(tīng)覺(jué)來(lái)感受、需要時(shí)間的過(guò)程展現(xiàn)形像、通過(guò)演奏和演唱的再創(chuàng)作才能欣賞，但是，在表現(xiàn)的方式上卻發(fā)生了相應(yīng)的變化：音樂(lè)構(gòu)思須根據(jù)電影的題材內(nèi)容、風(fēng)格樣式、人物性格及導(dǎo)演的藝術(shù)總體構(gòu)思，使音樂(lè)的聽(tīng)覺(jué)形像與畫(huà)面的視覺(jué)形像相融合，體現(xiàn)綜合性的美學(xué)原則。除神話(huà)片、童話(huà)片、科學(xué)幻想片以及現(xiàn)代的實(shí)驗(yàn)性的電影以外，電影中的人物造型、表情、動(dòng)作、語(yǔ)言、環(huán)境氣氛等，大都是接近現(xiàn)實(shí)生活的自然形態(tài)。因而，電影音樂(lè)也不象一般供音樂(lè)會(huì)上演出的純器樂(lè)曲和舞臺(tái)演出的歌劇音樂(lè)、舞劇音樂(lè)那么夸張和程式化；音樂(lè)常常與對(duì)話(huà)、自然音響效果相結(jié)合。在無(wú)聲電影時(shí)期，有時(shí)音樂(lè)是唯一的聲音，從頭至尾貫串全片。由于錄音技術(shù)的進(jìn)步，，進(jìn)入有聲電影時(shí)期，除音樂(lè)之外，還可以錄制語(yǔ)言和自然音響效果，解脫了在無(wú)聲電影時(shí)期音樂(lè)超負(fù)荷的現(xiàn)象。導(dǎo)演和作曲家從電影的真正需要出發(fā)，只有在表現(xiàn)抒情性、戲劇性氣氛的時(shí)候才恰當(dāng)?shù)�、有效地使用音�?lè)。這樣，既符合音樂(lè)的藝術(shù)規(guī)律，又提高了電影綜合藝術(shù)的美學(xué)功能。這使音樂(lè)真正地發(fā)展成為電影綜合藝術(shù)的重要的有機(jī)組成部分，對(duì)電影音樂(lè)形成分段陳述的結(jié)構(gòu)，也有促進(jìn)作用。 王家衛(wèi)的電影作品與他的電影音樂(lè)都有著濃厚的文藝色彩，如《花樣年華》中的小提琴背景音樂(lè)，加上張曼玉穿著各式旗袍或靜止或行走的優(yōu)雅畫(huà)面，文藝的氣息撲面而來(lái)。電影《2046》的插曲《2046Main Theme》以及《Siboney》用小提琴以及打擊樂(lè)等不同樂(lè)器將相同的旋律演奏出不同的風(fēng)格效果，穿插在影片的不同內(nèi)容中，表現(xiàn)出的情緒也大不相同。如何能將電影和音樂(lè)做到完美的結(jié)合，王家衛(wèi)特有的文藝式電影音樂(lè)或許可以給我們一些啟示。
[Abstract]:After the film becomes a comprehensive art, music still maintains its own particularity of artistic expression. If you are good at lyricism, not good at narration, you need hearing to feel, you need time to show your image, and you can appreciate it by playing and performing again, but, However, corresponding changes have taken place in the way of expression: the musical conception must be based on the subject matter, style, character and the overall artistic conception of the director, so that the auditory image of the music and the visual image of the picture can be combined. Embody comprehensive aesthetic principles. In addition to fairy tales, fairy tales, science fantasy films and modern experimental films, the characters, expressions, actions, language, environmental atmosphere and so on, are mostly close to the natural forms of real life. Therefore, film music is not as exaggerated and stylized as the pure instrumental music for concerts and opera music for stage performances; music is often combined with dialogue and natural sound effects. In silent movies, sometimes music is the only sound, from the beginning to the end of the whole film. Due to the progress of recording technology, in addition to music, it can also record language and natural sound effects, which relieves the phenomenon of music overload during the silent film period. Directors and composers use music properly and effectively only when performing lyricism and drama from the point of view of the real needs of the film. In this way, it not only accords with the art law of music, but also improves the aesthetic function of comprehensive art of film. This makes music really develop into an important organic part of the comprehensive art of film, and it can also promote the formation of the structure of the segmented statement of film music. Wang Jiawei's films and his film music have a strong literary and artistic color, such as "in the mood for Love" violin background music, plus Zhang Manyu dressed in a variety of cheongsam or static or walking elegant picture, literary and artistic atmosphere. The film < 2046 > episode < 2046Main Theme > and < Siboney > played the same melody with different instruments such as violin and percussion. How to perfect the combination of film and music, Wang Jiawei's unique literary and artistic film music may give us some enlightenment.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J617.6

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相關(guān)期刊論文 前4條

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本文編號(hào)：1812152