張藝謀早期電影中紅色元素的文化傳播研究
發(fā)布時(shí)間：2018-07-24 21:49
【摘要】：張藝謀作為中國(guó)電影發(fā)展史上的一個(gè)里程碑,其對(duì)色彩的極致應(yīng)用與獨(dú)特的運(yùn)用思維對(duì)中國(guó)電影乃至世界電影作出了極其重要的貢獻(xiàn)。他在電影中用唯美的色彩來裝扮影片畫面,在帶給觀眾完美的視覺享受的同時(shí),也提升了色彩在渲染故事情節(jié)、表達(dá)人物情感、塑造影片氛圍、加強(qiáng)影片整體造型方面的重要性,顯而易見的,張藝謀在色彩的處理上是相當(dāng)多變和獨(dú)特的。正是由于在張藝謀的影片中,色彩從一種象征符號(hào),升華為了影片的生命力之所在,所以,張藝謀的影片風(fēng)格,與其說是對(duì)影視視覺造型的追求,不如說是電影創(chuàng)作向藝術(shù)風(fēng)格的升華。然而,業(yè)內(nèi)外對(duì)張藝謀電影的批判聲也從未消失過。對(duì)其最大的批判聲音來自于,張藝謀電影中過于注重色彩營(yíng)造的視覺美感,遠(yuǎn)遠(yuǎn)超過其對(duì)影片內(nèi)容、人物造型的塑造。針對(duì)此種現(xiàn)象,為了弄清楚在張藝謀的影片中,導(dǎo)演是如何做到使色彩運(yùn)用與思想表達(dá)之間達(dá)到一種融洽的關(guān)系,本文在闡明色彩和意象含義的基礎(chǔ)上,提出了色彩意象理論,以發(fā)掘張藝謀在其影片中是如何嫻熟地運(yùn)用色彩的,從而也為進(jìn)一步研究張藝謀的電影作品提供一個(gè)全新的視角。本文首先在對(duì)張藝謀及其電影中的文化特征,尤其是電影語言進(jìn)行簡(jiǎn)要分析的基礎(chǔ)上,對(duì)其影視作品中所運(yùn)用的色彩語言進(jìn)行深入分析,并說明色彩意象理論的現(xiàn)實(shí)研究狀況,最終以簡(jiǎn)要闡述色彩意象理論的內(nèi)容為基礎(chǔ),分析其在影視作品中的色彩意象具體內(nèi)容,以張藝謀在早期所創(chuàng)作的三部代表作為例,即以《紅高粱》、《大紅燈籠高高掛》以及《菊豆》三部影片為例,系統(tǒng)闡述張藝謀電影中紅色元素的構(gòu)成要素與文化傳播研究。
[Abstract]:Zhang Yimou as a milestone in the history of Chinese film development, its extreme application of color and unique application of thinking have made an extremely important contribution to Chinese film and even the world film. He dressed up the film with beautiful colors in the film. While bringing the audience the perfect visual enjoyment, he also enhanced the color in rendering the story, expressing the emotions of the characters, and shaping the atmosphere of the film. The importance of enhancing the overall shape of the film is obvious, Zhang Yimou in color handling is quite changeable and unique. It is precisely because in the Zhang Yimou film, color is sublimated from a symbolic symbol to the vitality of the film, so Zhang Yimou's film style is not so much the pursuit of visual modeling of the film and television. More like film creation to the sublimation of artistic style. However, the criticism of Zhang Yimou films inside and outside the industry has never disappeared. The biggest critical voice comes from the Zhang Yimou film, which pays too much attention to the color creation of the visual aesthetic, far more than its film content, character modeling. In order to find out how to achieve a harmonious relationship between the use of color and the expression of ideas in Zhang Yimou films, this paper puts forward the theory of color image on the basis of explaining the meaning of color and image. In order to explore how Zhang Yimou skillfully uses color in his films, it also provides a new perspective for the further study of Zhang Yimou's film works. Based on the brief analysis of the cultural characteristics of Zhang Yimou and its films, especially the film language, this paper makes a deep analysis of the color language used in its film and television works, and explains the current situation of the research on the theory of color image. Finally, based on a brief description of the content of color image theory, this paper analyzes the specific content of color image in film and television works, taking the three representative works of Zhang Yimou in the early period as an example. Taking Red Sorghum (Red Sorghum), Red Lantern hanging High "and" Ju Bean "as examples, this paper systematically expounds the elements of red elements and cultural communication in Zhang Yimou films.
【學(xué)位授予單位】：重慶工商大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905
[Abstract]:Zhang Yimou as a milestone in the history of Chinese film development, its extreme application of color and unique application of thinking have made an extremely important contribution to Chinese film and even the world film. He dressed up the film with beautiful colors in the film. While bringing the audience the perfect visual enjoyment, he also enhanced the color in rendering the story, expressing the emotions of the characters, and shaping the atmosphere of the film. The importance of enhancing the overall shape of the film is obvious, Zhang Yimou in color handling is quite changeable and unique. It is precisely because in the Zhang Yimou film, color is sublimated from a symbolic symbol to the vitality of the film, so Zhang Yimou's film style is not so much the pursuit of visual modeling of the film and television. More like film creation to the sublimation of artistic style. However, the criticism of Zhang Yimou films inside and outside the industry has never disappeared. The biggest critical voice comes from the Zhang Yimou film, which pays too much attention to the color creation of the visual aesthetic, far more than its film content, character modeling. In order to find out how to achieve a harmonious relationship between the use of color and the expression of ideas in Zhang Yimou films, this paper puts forward the theory of color image on the basis of explaining the meaning of color and image. In order to explore how Zhang Yimou skillfully uses color in his films, it also provides a new perspective for the further study of Zhang Yimou's film works. Based on the brief analysis of the cultural characteristics of Zhang Yimou and its films, especially the film language, this paper makes a deep analysis of the color language used in its film and television works, and explains the current situation of the research on the theory of color image. Finally, based on a brief description of the content of color image theory, this paper analyzes the specific content of color image in film and television works, taking the three representative works of Zhang Yimou in the early period as an example. Taking Red Sorghum (Red Sorghum), Red Lantern hanging High "and" Ju Bean "as examples, this paper systematically expounds the elements of red elements and cultural communication in Zhang Yimou films.
【學(xué)位授予單位】：重慶工商大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905
【共引文獻(xiàn)】
相關(guān)期刊論文 前10條
1 肖艷;王珊;;軌道交通樞紐室內(nèi)視覺環(huán)境色彩分析[J];四川建筑科學(xué)研究;2008年05期
2 趙梓鈞;王e，
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