本文選題：中國當代影片 + 意境��； 參考：《電影文學》2017年06期

【摘要】：意境不僅是中國傳統(tǒng)文藝之精髓,還是中國電影保持獨立品格的重要保障,從中國電影發(fā)展之初,意境的營造就成為幾代電影人不懈的追求。本文將在簡要概述中國詩情畫意的光影世界和"意象"與中國電影之關聯(lián)的基礎上,從"虛實相生"之境、"景意相合"之境、"哲思相融"之境三個層面,以《紅高粱》《臥虎藏龍》《頤和園》《陽光燦爛的日子》《蘇州河》等影片為分析范例,試圖討論中國當代影片中的意境營造。
[Abstract]:Artistic conception is not only the essence of Chinese traditional literature and art, but also an important guarantee for the independent character of Chinese films. From the beginning of the development of Chinese films, the creation of artistic conception has become the unremitting pursuit of several generations of filmmakers. On the basis of a brief overview of the light and shadow world of Chinese poetry and painting and the relationship between "image" and Chinese film, this paper will discuss the three levels of "the boundary of" the "living with the void", "the harmony of the scenery and the idea", and the "harmony of the philosophic thoughts". Taking "Red Sorghum", "Crouching Tiger, Hidden Dragon", "the Summer Palace", "Sunshine days" and "Suzhou River" as examples, this paper tries to discuss the artistic conception construction in contemporary Chinese films.
【作者單位】： 河南牧業(yè)經(jīng)濟學院;
【分類號】：J905

【相似文獻】

相關期刊論文 前4條

1 祝曄;試論《夏天里的羨慕》的意境營造[J];現(xiàn)代傳播-北京廣播學院學報;1994年06期

2 汪昀;;希望人生——影片《戀戀三季》讀解[J];寧波職業(yè)技術學院學報;2007年03期

3 葛玉清;;中國電影意境營造與觀眾審美意向融合[J];文藝評論;2006年04期

4 ;[J];;年期

，

本文編號：2026889