發(fā)布時(shí)間：2018-05-20 09:45

  本文選題：影像符號(hào) + 影像造型�。� 參考：《山西大學(xué)》2013年碩士論文

【摘要】：李少紅作為一名女性導(dǎo)演,她以女性視角為切入點(diǎn),以女性角色為表現(xiàn)對(duì)象,演繹女性世界的情感歷程,這些創(chuàng)作原則都是她女性意識(shí)的自覺性體現(xiàn)。在以男權(quán)為主宰的社會(huì)中建立了獨(dú)特的創(chuàng)作思維：詩意化的創(chuàng)作理想、電影化的拍攝手法,這些電影元素的成功運(yùn)用創(chuàng)建了李少紅自己的影像世界。 影像符號(hào)是影像的基本構(gòu)成元素。無論是詩情畫意的視覺造型,還是哀婉悠揚(yáng)的聽覺造型,都深深地打上了李少紅影像風(fēng)格的烙印。色彩的濃烈傳達(dá)、光影的透視效果、油畫式的構(gòu)圖、精美華麗的服飾,從視覺上來看她似乎不是在拍電視劇,更像是為觀眾展開一幅“李少紅式”的古典油畫。再加上詩化對(duì)白的文學(xué)觀照、音樂的民族化傳頌、個(gè)性化音響的氛圍營造,不得不說李少紅對(duì)電視劇影像畫面的追求已經(jīng)達(dá)到了一種極致唯美的地步。 如果說影像視聽特色是李少紅電視劇的具象化表現(xiàn),那么影像造型藝術(shù)的延伸就是對(duì)影像世界的抽象呈現(xiàn)。她在意境的創(chuàng)造和意象的選用上以女性浪漫情懷為基準(zhǔn),在追求情調(diào)意味的同時(shí)給觀眾帶來了強(qiáng)大的視覺沖擊力。在追求形式美之余內(nèi)容上也不缺失,她運(yùn)用運(yùn)動(dòng)的空間和隱喻的空間兩種方式使畫面中現(xiàn)實(shí)與夢幻交相呼應(yīng),從而譜寫出女性命運(yùn)的交響曲,營造出中國傳統(tǒng)的美學(xué)意境。 從《大明宮詞》到2010版《紅樓夢》,李少紅用行動(dòng)證明著作為一名創(chuàng)作者,其創(chuàng)作風(fēng)格的成熟成就了她自成一家的詩性特質(zhì)和油畫韻味,實(shí)現(xiàn)了她在電視劇領(lǐng)域的美學(xué)追求。最重要的是,她的電視劇追求的是風(fēng)格與文化的并存和融合的境界。傳統(tǒng)文化氣質(zhì)中解讀人文內(nèi)涵,大眾文化中注入精英意識(shí),其對(duì)人生關(guān)懷、生命意義和價(jià)值追尋的同時(shí),喚起觀眾對(duì)美的追求,使得觀眾達(dá)到審美的深層階段。這就是研究李少紅電視劇最重要的價(jià)值所在。
[Abstract]:As a female director, Li Shaohong takes the female perspective as a breakthrough point and takes the female role as the object to deduce the emotional history of the female world. These creative principles are all the conscious embodiment of her feminine consciousness. In a society dominated by male power, she has established a unique creative thinking: Poetic Creation ideal, film based shooting. The successful application of these movie elements created Li Shaohong's own image world.
The image symbol is the basic element of the image. Whether it is a poetic visual form or a sad and melodious auditory modeling, it is deeply branded with Li Shaohong's image style. The strong transmission of color, the effect of light and shadow, the composition of oil painting, the beautiful and gorgeous dress, it seems that she is not looking for the TV series visually. It is more like an "Li Shaohong" classic oil painting for the audience, with the literary view of poetic dialogue, the nationalization of music and the creation of the atmosphere of individualized sound, and it has to be said that Li Shaohong's pursuit of the image of TV plays has reached a very beautiful point of view.
If the image audio-visual characteristic is the representational manifestation of Li Shaohong's TV drama, the extension of the image modeling art is the abstract presentation of the image world. She is based on the female romantic feelings in the creation of artistic conception and the selection of images, and brings a powerful visual impact to the audience at the same time in pursuit of emotional appeal. In pursuit of the form, she is pursuing the form. The content of beauty is not missing. She uses two ways of the space of movement and the space of metaphor to make the reality and dream meet in the picture, thus the symphony of women's fate is written out, and the aesthetic artistic conception of Chinese tradition is created.
From "Daming Palace" to "the 2010 Edition" of "the dream of Red Mansions", Li Shaohong proved to be a Creator with his action. His style of creation has achieved her poetic characteristics and painting flavor, and realized her aesthetic pursuit in the field of TV drama. Most importantly, her TV play is the pursuit of the coexistence and integration of style and culture. The cultural connotation is interpreted in the traditional cultural temperament, and the elite consciousness is injected into the mass culture. At the same time, it arouses the audience's pursuit of beauty at the same time of life care, life meaning and value pursuit, which makes the audience reach the deep stage of aesthetic appreciation. This is the most important value of the study of Li Shaohong's TV play.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J911

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本文編號(hào)：1914129