【摘要】：影視藝術(shù)用二維的屏幕藝術(shù)表現(xiàn)三維的現(xiàn)實(shí)空間,軸線是解決這一問題的關(guān)鍵,但并非唯一。軸線是一個(gè)系統(tǒng)的理論范疇,通過軸線觀念的溯源與軸線的內(nèi)涵的分析,厘清軸線規(guī)律遵守的實(shí)踐"情境"與理論表達(dá)的"語境"。創(chuàng)作者為了保持銀幕方向的一致性和空間連續(xù)性,要遵守軸線,為了故意造成空間的混亂和空間的不連續(xù)性時(shí)則要違背軸線,因此,創(chuàng)作者可以遵守軸線規(guī)律,也可以違背,當(dāng)然在現(xiàn)實(shí)條件許可的情況下亦可超越。
[Abstract]:The film and television art uses the two dimensional screen art to express the three dimensional realistic space, the axis is the key to solve this problem, but is not the only one. Axis is a systematic theoretical category. By analyzing the origin of the concept of axis and the connotation of axis, this paper clarifies the practice "situation" and the "context" of theoretical expression. In order to maintain the consistency of the direction of the screen and the continuity of space, the creators must abide by the axis, and if they deliberately cause chaos in space and discontinuity in space, they will have to violate the axis. Therefore, the creator can obey the law of the axis, or he can also violate it. Of course, in the case of real conditions can be beyond.
【作者單位】： 南陽理工學(xué)院;
【分類號(hào)】：J905

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