【摘要】：有聲電影和彩色電影的問(wèn)世被稱為電影技術(shù)的兩次重要革命。而自21世紀(jì)初期，數(shù)字技術(shù)的大范圍攻占電影藝術(shù)的“領(lǐng)地”后。數(shù)字技術(shù)被推上了相較于前兩次技術(shù)革命同樣重要的位置。數(shù)字技術(shù)是伴隨計(jì)算機(jī)的廣泛運(yùn)用而到來(lái)的。得益于它的便捷性和創(chuàng)造性，電影藝術(shù)一方面開(kāi)始大范圍運(yùn)用數(shù)字技術(shù)來(lái)對(duì)原始影像、聲音等資料進(jìn)行保存和轉(zhuǎn)制。在這樣的背景下，記錄影像資料傳統(tǒng)的介質(zhì)——膠片逐漸開(kāi)始備受冷落。另一方面，數(shù)字技術(shù)因其在計(jì)算機(jī)后期的影像加工上無(wú)可比擬的創(chuàng)造力，，正慢慢地主導(dǎo)著電影藝術(shù)與技術(shù)的發(fā)展。因此，有必要將數(shù)字技術(shù)對(duì)傳統(tǒng)電影美學(xué)、理論的沖擊和影響進(jìn)行一個(gè)系統(tǒng)的梳理 本文將以先進(jìn)數(shù)字技術(shù)解析為電影美學(xué)嬗變的闡述作支撐，探討數(shù)字技術(shù)的廣泛運(yùn)用對(duì)傳統(tǒng)電影美學(xué)的沖擊和影響。其中將詳細(xì)地分析由數(shù)字技術(shù)的出現(xiàn)而引導(dǎo)的電影假定性廣義和狹義的轉(zhuǎn)向和假定性內(nèi)涵的拓寬，并從電影觀影心理的角度分析觀影者與電影假定性關(guān)系的變化。另一方面，詳細(xì)地闡述數(shù)字技術(shù)對(duì)傳統(tǒng)蒙太奇、長(zhǎng)鏡頭美學(xué)的沖擊和影響，探討兩者在數(shù)字背景下理論的融合和重構(gòu)，并以全新的視角重新審視安德烈巴贊的攝影影像本體論在今天的意義。
[Abstract]:The advent of sound and color films has been called the two important revolutions of film technology. Since the beginning of the 21 st century, digital technology has taken over the territory of film art. Digital technology has been pushed to a position as important as the two previous technological revolutions. Digital technology comes with the wide use of computers. Thanks to its convenience and creativity, film art on the one hand began to use digital technology to save and transform the original image, sound and other materials. Against this background, the traditional medium-film for recording image data is gradually being neglected. On the other hand, digital technology is gradually dominating the development of film art and technology because of its incomparable creativity in image processing. Therefore, it is necessary to systematically comb the impact and influence of digital technology on traditional film aesthetics and theory. This paper discusses the impact and influence of the wide application of digital technology on traditional film aesthetics. It will analyze in detail the film hypothetical broad sense and narrow sense turn and broaden the hypothetical connotation guided by the appearance of digital technology, and analyze the change of the relationship between the viewer and the movie hypothetical from the angle of the film viewing psychology. On the other hand, the impact and influence of digital technology on the traditional montage and long lens aesthetics are discussed in detail, and the fusion and reconstruction of the two theories under the digital background are discussed. And from a new perspective to re-examine Andre Bazan's photographic image ontology in today's significance.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J901

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