論戰(zhàn)爭(zhēng)題材影片中戰(zhàn)斗場(chǎng)景的流變
發(fā)布時(shí)間：2018-09-08 12:52
【摘要】：戰(zhàn)爭(zhēng)片作為大眾所喜愛的電影的類型之一，究其原因，大體上可歸納為氣勢(shì)磅礴的宏大場(chǎng)面；激烈火爆的視聽沖擊力，張弛有力的節(jié)奏推進(jìn)；耐人尋味的主題立意等。涉及的題材內(nèi)容無論是傳達(dá)親情、友情、愛情，還是深刻的人性思考及戰(zhàn)爭(zhēng)反思，亦或是所表達(dá)的哲理思想都要借助于豐富多變、張弛有度的視聽語(yǔ)言來表達(dá)。而大多數(shù)這類影片還是需要借助于戰(zhàn)爭(zhēng)場(chǎng)景的調(diào)度這一敘事段落作為橋梁，構(gòu)建起整體的敘事線索。也有諸多戰(zhàn)爭(zhēng)題材影片以戰(zhàn)后為敘事背景，不使用（或較少涉及）戰(zhàn)爭(zhēng)場(chǎng)景作為敘述表達(dá)的基礎(chǔ)。戰(zhàn)斗場(chǎng)景對(duì)于整部戰(zhàn)爭(zhēng)片來說具有重要的地位和作用：既是敘事段落的高潮部分，也為后面的敘事展開奠定良好基礎(chǔ)的關(guān)鍵所在。因而對(duì)戰(zhàn)斗場(chǎng)景的設(shè)置、表現(xiàn)既要符合觀影習(xí)慣，又要注重?cái)⑹鹿?jié)奏的把握，故此本文從分析世界戰(zhàn)爭(zhēng)片和中國(guó)戰(zhàn)爭(zhēng)片的特征入手，通過視聽語(yǔ)言角度分析其敘事方法的運(yùn)用、剖析戰(zhàn)斗場(chǎng)景設(shè)置的技巧，以此獲得滿足觀眾的視聽需求的戰(zhàn)斗場(chǎng)景的設(shè)置方法。本論文共分五個(gè)大的內(nèi)容，引言部分是本文的研究的緣由，主要描述了本文研究主要 意義、主要目的、具體方法以及關(guān)于影視中戰(zhàn)斗場(chǎng)景的敘事方法研究的現(xiàn)狀等內(nèi)容；第一章是對(duì)世界戰(zhàn)爭(zhēng)片特征的及其戰(zhàn)斗場(chǎng)景流變的概述。第二章是戰(zhàn)斗場(chǎng)景的基本敘事手段分析，此部分包含三個(gè)部分：第一部分從“空間定制”著重分析戰(zhàn)爭(zhēng)影片中需要確立的“特殊”的空間，主要從畫面呈現(xiàn)的空間定制和音響的運(yùn)用對(duì)空間的進(jìn)一步強(qiáng)化，佐證這種空間的特殊性及畫面中形象化信息三個(gè)方面分析。第二部分分析其漸變加速在處理戰(zhàn)斗場(chǎng)景時(shí)的常用表現(xiàn)手法，，主要從聲音與畫面節(jié)奏、具體案例分析剪（接）輯形成的外部節(jié)奏兩方面入手，涉及聲畫關(guān)系對(duì)節(jié)奏及其剪（接）輯與蒙太奇在戰(zhàn)斗場(chǎng)景處理中的方法。第三部分是戰(zhàn)斗場(chǎng)景及其戰(zhàn)斗細(xì)節(jié)的表現(xiàn)方法，側(cè)重于從場(chǎng)面調(diào)度與視點(diǎn)的轉(zhuǎn)換來分析、突顯出場(chǎng)面調(diào)度對(duì)豐富戰(zhàn)斗場(chǎng)景意義的表達(dá)和主觀視點(diǎn)的細(xì)節(jié)特寫表達(dá)。第三章主要是分析國(guó)產(chǎn)戰(zhàn)爭(zhēng)片中戰(zhàn)斗場(chǎng)景處理方式。本文以此來探討和總結(jié)經(jīng)典戰(zhàn)爭(zhēng)片中關(guān)于戰(zhàn)斗場(chǎng)景的敘事方法的基本規(guī)律，著重于提 高戰(zhàn)斗場(chǎng)景的敘事方法，借鑒經(jīng)典戰(zhàn)爭(zhēng)片的經(jīng)驗(yàn)和方法，以有效地促進(jìn)中國(guó)軍事歷史戰(zhàn)爭(zhēng)題材影片的未來的發(fā)展。
[Abstract]:As one of the popular favorite types of films, war films can be summed up as the magnificent grand scene, intense audio-visual impact, Zhang Chi's powerful rhythm, intriguing theme, etc. The contents of the subject matter, whether it is to convey affection, friendship, love, profound thinking of human nature and war reflection, or to express philosophical ideas must be expressed by means of rich and changeable, Zhang Chi's audiovisual language. Most of these films still need to use the war scene scheduling as a bridge to construct the overall narrative clue. There are also many war films with postwar narrative background, not using (or less involved) war scenes as the basis of narrative expression. The battle scene plays an important role in the whole war film: it is not only the climax of the narrative paragraph, but also the key to lay a good foundation for the later narrative development. Therefore, the setting of battle scenes should not only accord with the habit of watching film, but also pay attention to the grasp of narrative rhythm. Therefore, this paper starts with the analysis of the characteristics of the world war films and the Chinese war films, and analyzes the application of its narrative methods from the perspective of audio-visual language. This paper analyzes the skill of battle scene setting, and obtains the method of battle scene setting to meet the audience's audiovisual demand. This paper is divided into five major contents, the introduction part is the reason of this study, mainly describes the main significance of this study, the main purpose, The first chapter is an overview of the characteristics of the world war films and the evolution of the battle scenes. The second chapter is the analysis of the basic narrative methods of the battle scene. This part includes three parts: the first part focuses on the analysis of the "special" space that needs to be established in the war film from "Space customization". This paper mainly analyzes the spatial customization and the application of sound to the space, which proves the particularity of the space and the visualization information in the picture. In the second part, the author analyzes the common expression techniques of its gradual acceleration in dealing with battle scenes, mainly from the aspects of sound and picture rhythm, and the concrete case study of the external rhythm formed by the clipping (connecting) repertoire. This paper deals with the relationship between sound and painting on rhythm and its clipping and montage methods in battle scene processing. The third part is the representation method of battle scene and its fighting details, focusing on the analysis of scene scheduling and the transformation of viewpoint, which highlights the expression of scene scheduling to enrich the meaning of battle scene and the detail expression of subjective viewpoint. The third chapter is mainly to analyze the processing methods of battle scenes in domestic war films. This paper discusses and summarizes the basic rules of the narrative methods of the battle scenes in the classic war films, focuses on the narrative methods of raising the battle scenes, and draws lessons from the experiences and methods of the classic war films. In order to effectively promote the future development of Chinese military history war film.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
本文編號(hào)：2230580
[Abstract]:As one of the popular favorite types of films, war films can be summed up as the magnificent grand scene, intense audio-visual impact, Zhang Chi's powerful rhythm, intriguing theme, etc. The contents of the subject matter, whether it is to convey affection, friendship, love, profound thinking of human nature and war reflection, or to express philosophical ideas must be expressed by means of rich and changeable, Zhang Chi's audiovisual language. Most of these films still need to use the war scene scheduling as a bridge to construct the overall narrative clue. There are also many war films with postwar narrative background, not using (or less involved) war scenes as the basis of narrative expression. The battle scene plays an important role in the whole war film: it is not only the climax of the narrative paragraph, but also the key to lay a good foundation for the later narrative development. Therefore, the setting of battle scenes should not only accord with the habit of watching film, but also pay attention to the grasp of narrative rhythm. Therefore, this paper starts with the analysis of the characteristics of the world war films and the Chinese war films, and analyzes the application of its narrative methods from the perspective of audio-visual language. This paper analyzes the skill of battle scene setting, and obtains the method of battle scene setting to meet the audience's audiovisual demand. This paper is divided into five major contents, the introduction part is the reason of this study, mainly describes the main significance of this study, the main purpose, The first chapter is an overview of the characteristics of the world war films and the evolution of the battle scenes. The second chapter is the analysis of the basic narrative methods of the battle scene. This part includes three parts: the first part focuses on the analysis of the "special" space that needs to be established in the war film from "Space customization". This paper mainly analyzes the spatial customization and the application of sound to the space, which proves the particularity of the space and the visualization information in the picture. In the second part, the author analyzes the common expression techniques of its gradual acceleration in dealing with battle scenes, mainly from the aspects of sound and picture rhythm, and the concrete case study of the external rhythm formed by the clipping (connecting) repertoire. This paper deals with the relationship between sound and painting on rhythm and its clipping and montage methods in battle scene processing. The third part is the representation method of battle scene and its fighting details, focusing on the analysis of scene scheduling and the transformation of viewpoint, which highlights the expression of scene scheduling to enrich the meaning of battle scene and the detail expression of subjective viewpoint. The third chapter is mainly to analyze the processing methods of battle scenes in domestic war films. This paper discusses and summarizes the basic rules of the narrative methods of the battle scenes in the classic war films, focuses on the narrative methods of raising the battle scenes, and draws lessons from the experiences and methods of the classic war films. In order to effectively promote the future development of Chinese military history war film.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前3條
1 張正蕓;美國(guó)式的電影理論──《認(rèn)識(shí)電影》[J];國(guó)外社會(huì)科學(xué);1996年04期
2 阿·塔爾科夫斯基 ,羅慧生;論電影形象[J];電影藝術(shù)譯叢;1980年05期
3 王樂文;論電影聲音與電影聲音文化[J];影視技術(shù);2004年08期
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