本文選題：詩意電影 + 詩意性　； 參考：《云南大學(xué)》2013年碩士論文

【摘要】：從攝影師轉(zhuǎn)型成為導(dǎo)演的顧長衛(wèi),迄今為止只拍攝了三部影片：《孔雀》、《立春》和《最愛》。這三部影片從電影反映的內(nèi)容,到部分的創(chuàng)作方法,都體現(xiàn)了鮮明的紀(jì)實(shí)風(fēng)格。然而,顧長衛(wèi)電影的藝術(shù)性不僅在于此。還在于它在表面的日常生活的記錄背后,隱藏著一些內(nèi)在的、除了客觀再現(xiàn)事物之外的詩意性。如此的詩意性,不僅讓我們感受到顧長衛(wèi)關(guān)于現(xiàn)實(shí)歷史的表達(dá)和關(guān)懷,同時(shí)也讓我們看到顧長衛(wèi)是如何在藝術(shù)性與商業(yè)性之間找到平衡點(diǎn)。為此,本文試圖以“詩意性”為切入點(diǎn),對(duì)顧長衛(wèi)電影進(jìn)行分析。 文章首先介紹關(guān)于西方詩電影的相關(guān)理論和總結(jié)詩電影的特點(diǎn),并分析西方詩電影對(duì)中國電影的影響,概括出中國詩意電影的特點(diǎn)；其次,分別解讀顧長衛(wèi)三部影片中日常生活的詩意性。而這樣的詩意性是導(dǎo)演通過詩意電影的特點(diǎn)塑造出主人公們對(duì)人性和理想的堅(jiān)守呈現(xiàn)出來的,如此呈現(xiàn)不僅讓我們看到了生命的精彩,也感受到了平淡生活中詩意的韻昧,這樣詩意韻味的傳達(dá)是導(dǎo)演由形而下的平淡生活中挖掘出來的,體現(xiàn)出來的不僅僅是生存的詩意,也是人性的詩意和生命的詩意。它們本身就具有感人的力量,就是一種詩意的發(fā)現(xiàn)；然后分析顧長衛(wèi)電影中敘事策略的詩意性,從注重內(nèi)心沖突的敘事手法、主觀介入的敘述視角、懷舊情緒的表達(dá)三個(gè)方面來進(jìn)行闡述。正是這樣的敘事策略的表達(dá),使他的電影有種“此時(shí)無聲勝有聲”的詩意,從而穿透庸常的表面,帶給我們?cè)娨獾南胂蠛驼芾淼捏w悟。最后文章通過影片的意境營造、色彩運(yùn)用兩個(gè)角度來闡述顧長衛(wèi)電影影像風(fēng)格的詩意性。讓我們看到顧長衛(wèi)電影在西方詩電影的基礎(chǔ)上,融入了“東方詩學(xué)”所推崇的意境之美,從而使我們既看到電影形式的詩意美,也感受到電影內(nèi)容的詩意美。 通過以上對(duì)顧長衛(wèi)電影詩意性的闡述,我們能看到顧長衛(wèi)電影詩意性的藝術(shù)價(jià)值及從中表達(dá)出來的對(duì)生活和人的關(guān)懷,同時(shí)也看到顧長衛(wèi)的電影是如何能在藝術(shù)性與商業(yè)性之間找到平衡點(diǎn),從而使我們對(duì)生活和個(gè)人有所思考,并且對(duì)中國電影產(chǎn)業(yè)的發(fā)展能提供一些借鑒。
[Abstract]:Gu Changwei, who transformed from photographer to director, has made only three films so far: Peacock, the Beginning of Spring and favorite. The three films reflect the content of the film, to part of the creative methods, reflect a distinctive documentary style. However, the art of Gu Changwei's films is more than this. It also lies in the fact that behind the record of superficial daily life, there are some inherent poetic features except objective reappearance of things. Such poetic nature not only makes us feel Gu Changwei's expression and concern about the real history, but also lets us see how Gu Changwei finds a balance between artistry and commerce. Therefore, this paper tries to analyze Gu Changwei's films from poetic point of view. The article first introduces the relevant theories about the western poetry film and summarizes the characteristics of the poem film, analyzes the influence of the western poetry film on the Chinese film, and generalizes the characteristics of the Chinese poetic film. Separately unscramble Gu Changwei in the three films daily life poetical. And this poetic nature is created by the director through the characteristics of poetic movies to portray the protagonists' adherence to human nature and ideal. Such a presentation not only makes us see the brilliance of life, but also feels the poetic charm of plain life. The poetical appeal is excavated by the director from the plain life, which reflects not only the poetic meaning of existence, but also the poetic meaning of human nature and life. They themselves have touching power, which is a poetic discovery, and then analyzes the poetic nature of narrative strategies in Gu Changwei's films, from the perspective of focusing on the narrative techniques of inner conflict and subjective intervention. The expression of nostalgia emotion in three aspects. It is the expression of this narrative strategy that makes his films have the poetic meaning of "silence is better than sound", thus penetrating the surface of commonplace, bringing us poetic imagination and philosophical understanding. Finally, the article expounds the poetic character of Gu Changwei's film image style from two angles of artistic conception construction and color application. Let us see that Gu Changwei's films, on the basis of the western poetic films, incorporate the beauty of artistic conception in Oriental Poetics, so that we can not only see the poetic beauty of the film form, but also feel the poetic beauty of the film content. Through the above elaboration of the poetic nature of Gu Changwei's films, we can see the artistic value of the poetic nature of Gu Changwei's films and the concern for life and people expressed from them. At the same time, we can see how Gu Changwei's film can find a balance between artistry and commercial, so that we can think about life and individual, and can provide some reference for the development of Chinese film industry.
【學(xué)位授予單位】：云南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905;J901

【參考文獻(xiàn)】

中國期刊全文數(shù)據(jù)庫 前10條

1 張曉s，

本文編號(hào)：1880521