本文選題：中國(guó)當(dāng)代影片 + 意境　； 參考：《電影文學(xué)》2017年06期

【摘要】：意境不僅是中國(guó)傳統(tǒng)文藝之精髓,還是中國(guó)電影保持獨(dú)立品格的重要保障,從中國(guó)電影發(fā)展之初,意境的營(yíng)造就成為幾代電影人不懈的追求。本文將在簡(jiǎn)要概述中國(guó)詩(shī)情畫(huà)意的光影世界和"意象"與中國(guó)電影之關(guān)聯(lián)的基礎(chǔ)上,從"虛實(shí)相生"之境、"景意相合"之境、"哲思相融"之境三個(gè)層面,以《紅高粱》《臥虎藏龍》《頤和園》《陽(yáng)光燦爛的日子》《蘇州河》等影片為分析范例,試圖討論中國(guó)當(dāng)代影片中的意境營(yíng)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(jì)學(xué)院;
【分類(lèi)號(hào)】：J905

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本文編號(hào)：2026889