意大利新現(xiàn)實(shí)主義的美學(xué)空間
發(fā)布時間：2018-08-31 20:02
【摘要】：作為二戰(zhàn)之后第一次大規(guī)模的電影運(yùn)動,意大利新現(xiàn)實(shí)主義給我們留下了一批影響深遠(yuǎn)的優(yōu)秀作品,其豐富的作品內(nèi)涵和先進(jìn)的美學(xué)觀念,在其之后的不同國家和地區(qū),直接或間接地開啟了一次次新的電影革命,影響了一代又一代的電影創(chuàng)作者。因?yàn)閷z影機(jī)放到社會現(xiàn)實(shí)中去進(jìn)行實(shí)景拍攝,并將其與故事緊密結(jié)合在一起,意大利新現(xiàn)實(shí)主義作品的空間因此有了更新的形態(tài)和更多的內(nèi)涵。分析意大利新現(xiàn)實(shí)主義的空間架構(gòu),就是要試圖找到新現(xiàn)實(shí)主義通過塑造現(xiàn)實(shí)形成自己獨(dú)特美學(xué)空間的方法。圍繞這個問題的探討,必將從其影片空間的美學(xué)實(shí)踐中來進(jìn)行探析。本文對于影片空間架構(gòu)的分析,一方面基于對鏡頭空間和場景空間的結(jié)構(gòu)分析,另一方面基于故事走向的整體敘事空間架構(gòu)分析。本文以電影美學(xué)為理論基礎(chǔ),結(jié)合電影劇作學(xué)的理論方法,圍繞意大利新現(xiàn)實(shí)主義的美學(xué)特征之一的美學(xué)空間展開論述。全文分為四章。第一章梳理意大利新現(xiàn)實(shí)主義的歷史,同時就作品本身作簡要的介紹；第二章探討新現(xiàn)實(shí)主義空間美學(xué)功能,從寫實(shí)功能和表意功能兩個方面展開；第三章分析了意大利新現(xiàn)實(shí)主義在敘事和組織上的架構(gòu)；第四章結(jié)合理論分析,探討劇本創(chuàng)作和理論形成的關(guān)系,以及理論探討如何應(yīng)用于電影創(chuàng)作實(shí)踐。
[Abstract]:As the first large-scale film movement after World War II, Italy's neo-realism left us with a number of outstanding works with far-reaching influence, its rich content and advanced aesthetic concepts, in different countries and regions after the war. Directly or indirectly opened a new film revolution, affecting generation after generation of film creators. Because the camera is put into the social reality to shoot the real scene, and it is closely combined with the story, the space of the Italian neo-realism works has a new form and more connotation. To analyze the space structure of Italian neo-realism is to try to find a way for neo-realism to form its own unique aesthetic space by shaping reality. The discussion around this problem will be analyzed from the aesthetic practice of its film space. In this paper, the analysis of the space structure of the film is based on the structure analysis of the lens space and scene space on the one hand, and the overall narrative space structure analysis based on the trend of the story on the other. Based on the theory of film aesthetics and the theoretical method of film drama, this paper discusses the aesthetic space of one of the aesthetic characteristics of new realism in Italy. The full text is divided into four chapters. The first chapter combs the history of Italian neo-realism, at the same time makes a brief introduction to the work itself, the second chapter discusses the space aesthetic function of neo-realism, from realistic function and ideographic function. The third chapter analyzes the structure of Italian neo-realism in narrative and organization, the fourth chapter discusses the relationship between script creation and theoretical formation, and discusses how to apply it to film creation practice.
【學(xué)位授予單位】：中國電影藝術(shù)研究中心
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J905
本文編號：2216017
[Abstract]:As the first large-scale film movement after World War II, Italy's neo-realism left us with a number of outstanding works with far-reaching influence, its rich content and advanced aesthetic concepts, in different countries and regions after the war. Directly or indirectly opened a new film revolution, affecting generation after generation of film creators. Because the camera is put into the social reality to shoot the real scene, and it is closely combined with the story, the space of the Italian neo-realism works has a new form and more connotation. To analyze the space structure of Italian neo-realism is to try to find a way for neo-realism to form its own unique aesthetic space by shaping reality. The discussion around this problem will be analyzed from the aesthetic practice of its film space. In this paper, the analysis of the space structure of the film is based on the structure analysis of the lens space and scene space on the one hand, and the overall narrative space structure analysis based on the trend of the story on the other. Based on the theory of film aesthetics and the theoretical method of film drama, this paper discusses the aesthetic space of one of the aesthetic characteristics of new realism in Italy. The full text is divided into four chapters. The first chapter combs the history of Italian neo-realism, at the same time makes a brief introduction to the work itself, the second chapter discusses the space aesthetic function of neo-realism, from realistic function and ideographic function. The third chapter analyzes the structure of Italian neo-realism in narrative and organization, the fourth chapter discusses the relationship between script creation and theoretical formation, and discusses how to apply it to film creation practice.
【學(xué)位授予單位】：中國電影藝術(shù)研究中心
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J905
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，本文編號：2216017
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