本文選題：松本俊夫 + 實(shí)驗(yàn)電影　； 參考：《西北大學(xué)》2014年碩士論文

【摘要】：實(shí)驗(yàn)影像雖然由來(lái)已久,然而由于其主要側(cè)重于創(chuàng)作者主觀意識(shí)的表達(dá),往往以概念的具象化作為作品的主體,無(wú)論在畫面與聲音的敘事或表意功能上,幾乎不遵循以往的視聽(tīng)語(yǔ)言經(jīng)驗(yàn),試圖突破條條框框,從畫面與聲音帶給觀眾的感官體驗(yàn)作為切入口,開(kāi)拓畫面與聲音的表現(xiàn)力,甚至用極端方式挑戰(zhàn)觀眾的視覺(jué)、聽(tīng)覺(jué),因此多數(shù)時(shí)間以小眾文化的傳播形態(tài)生存在夾縫之中。 松本俊夫作為上世紀(jì)六七十年代活躍在日本實(shí)驗(yàn)影像領(lǐng)域的藝術(shù)家,親自執(zhí)導(dǎo)過(guò)《薔薇的葬禮》、《十六歲的戰(zhàn)爭(zhēng)》、《修羅》、《腦髓地獄》四部實(shí)驗(yàn)長(zhǎng)片以及《Ginrin》、《石油的起源》等二十多部實(shí)驗(yàn)短片。松本俊夫嘗試通過(guò)用最現(xiàn)代的科技手段拍攝的作品來(lái)表現(xiàn)古代印度哲學(xué)思想,他的實(shí)驗(yàn)包括讓觀眾親身體驗(yàn)人類感知極限并且由此投入一種認(rèn)識(shí)論的眩暈。同時(shí)他以自己的夢(mèng)作為題材拍攝了一系列實(shí)驗(yàn)影像短片,這些作品為觀眾提供了徹底全新的感官體驗(yàn)。松本俊夫?qū)τ趯?shí)驗(yàn)影像的廣泛嘗試達(dá)到了一種通過(guò)動(dòng)態(tài)圖像進(jìn)行沉思的方式,圖像在他那里被認(rèn)為是類似記憶的遺跡。 松本俊夫在保持實(shí)驗(yàn)性創(chuàng)造的同時(shí),親自在日本引進(jìn)了帕索里尼的思想和符號(hào)學(xué)以及戈達(dá)爾在電影方面的破壞和解構(gòu)的實(shí)驗(yàn)性特征。作為一個(gè)電影導(dǎo)演,他嘗試了不同的電影類型同時(shí)涉及了大量的題材,從紀(jì)錄片到故事片,中間還有非常個(gè)人化的電影和使用數(shù)個(gè)同時(shí)的屏幕的裝置藝術(shù)。松本俊夫自由地探索了20世紀(jì)發(fā)明的圖像的所有表達(dá)方式,另外他在日本也一直處于美學(xué)思考的前衛(wèi)位置,他的立場(chǎng)決定影響了整整一波在世界藝術(shù)創(chuàng)新領(lǐng)域的研究者和活動(dòng)者。
[Abstract]:Although experimental images have a long history, because they mainly focus on the expression of the creators' subjective consciousness, they tend to take the concrete form of concepts as the main body of their works, whether in the narrative or ideographic functions of pictures and sounds. Almost do not follow the previous audio-visual language experience, try to break through the rules, from the picture and sound to the audience's sensory experience as a portal, to explore the picture and sound expression, and even in extreme ways to challenge the audience's vision, hearing, Therefore, most of the time to the spread of minority culture in the form of survival in the gap. Toshio Matsumoto, as an artist active in the field of experimental imaging in Japan in the 1960s and 1970s, He has directed more than 20 experimental short films, such as the funeral of Rosa, War at the age of 16, Shura, four experimental features in Hell of the brain and Ginrin, the Origin of Petroleum. Matsumoto tries to express the ideas of ancient Indian philosophy by using the most modern techniques of science and technology. His experiments include letting the audience experience the limits of human perception and thereby putting in an epistemological dizziness. At the same time, he took his dream as the subject of a series of experimental video clips, which provided the audience with a completely new sensory experience. Matsumoto's extensive attempt at experimental images has achieved a way of meditating through moving images, which he considers to be a relic of similar memories. While maintaining his experimental creation, Matsumoto personally introduced Panzorini's ideas and semiotics in Japan, as well as Godal's experimental characteristics of destruction and deconstruction in movies. As a film director, he tried different types of films and involved a lot of subjects, from documentaries to feature films, and very personal movies and installation art using several simultaneous screens. Matsumoto has freely explored all the expressions of images invented in the 20th century, and he has been at the forefront of aesthetic thinking in Japan. His position has affected a whole wave of researchers and activists in the world of artistic innovation.
【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前3條

1 佐藤忠男;樂(lè)馨;;ATG的三十年[J];電影藝術(shù);2010年01期

2 李銀斌;;論個(gè)人影像與傳統(tǒng)電影[J];四川戲劇;2008年06期

3 汪蕓;;從錄像短片到新媒體藝術(shù)[J];山花;2003年02期

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本文編號(hào)：2079003