論顧長衛(wèi)電影中的生命意識
發(fā)布時間：2018-11-10 15:28
【摘要】：被稱為“中國第一攝影師”的顧長衛(wèi)曾經(jīng)與張藝謀、陳凱歌等導(dǎo)演一起將中國的電影推向世界。轉(zhuǎn)行做導(dǎo)演之后，顧長衛(wèi)用近十年的時間“磨”出了自己的“時代三部曲”和一部微電影。豐富的從影經(jīng)歷與深厚的藝術(shù)積淀熔煉了其作品不凡的藝術(shù)水準(zhǔn)和獨特的美學(xué)風(fēng)貌。正如顧長衛(wèi)自己所言“電影里有他對生命的理解”，其作品雖然截取不同的時代背景，但始終聚焦于普通生命所閃耀的光輝，更透析著生命深處的矛盾，彰顯著強烈而悲憫的生命意識。 一切藝術(shù)的根源都是生命，生命意識的產(chǎn)生源于對生和死的體認和感悟。與“第五代”導(dǎo)演的“家國情懷”和“第六代”導(dǎo)演的“個體叛逆”不同，顧長衛(wèi)的電影溫暖而平靜。他更關(guān)注生命本身，通過對生命力與困縛的精確展示，傳達出生命深處的悲鳴。顧長衛(wèi)影片的題材、主題、藝術(shù)基調(diào)中處處蘊涵著生命意識。他始終關(guān)注著小人物的理想及其與現(xiàn)實之間的對撞。除了表達“欣賞和敬意”之外，其影片更有對生命無法擺脫的“長度”“寬度”“深度”的清醒認識：生命有限、死亡威脅、時代、地域、自我認知、倫理等“限制”，不無殘酷地揭示著生命的某種“真相”，引發(fā)觀眾對自我與本我的嚴(yán)肅思考。“向死而生”，而后獲得一種積極的人生態(tài)度，這也許是顧長衛(wèi)電影的真誠力量所在。除了內(nèi)容中豐富的“生命意識”，作為“形式”的藝術(shù)基調(diào)也渾然一體地包孕著這種精神內(nèi)核：充滿詩意、簡約質(zhì)樸、冷峻而不失生命張力的影像風(fēng)格，“靜中有動”的敘事節(jié)奏，方言和民俗的運用，都對電影主題的表達起到了強大的助力作用。 顧長衛(wèi)與作家閻連科等人的合作，，反映了中國當(dāng)代電影與文學(xué)在精神向度上的又一次深深的共鳴與融合�！犊兹浮�、《最愛》在票房上的成功也顯示了顧長衛(wèi)在藝術(shù)與商業(yè)間尋找平衡的有效探索。這在中國電影日趨多元化和國際化的今天，價值是明顯的。同時，我們也應(yīng)該看到其電影的不足之處：《最愛》敘事上的殘缺、《龍頭》的深澀難懂等，體現(xiàn)了電影表達與電影接受上的不對稱，這不僅是顧長衛(wèi)需要探究的，更是中國電影崛起之路上的一個重要課題。
[Abstract]:Known as "China's first photographer," Gu Changwei, with directors Zhang Yimou, Chen Kaige and other directors, pushed Chinese films to the world. After switching to directing, Gu Changwei spent nearly a decade "grinding" his time trilogy and a micro-film. The rich film experience and deep artistic accumulation have refined his works' extraordinary artistic level and unique aesthetic style. Just as Gu Changwei himself said, "there is his understanding of life in the film," although his works capture different backgrounds of the times, his works always focus on the brilliance of ordinary life, and even more dialysis the contradictions in the depths of life. It shows a strong and compassionate sense of life. The root of all art is life, and life consciousness comes from the understanding and understanding of life and death. Different from the "family feelings" of the fifth generation director and the "individual rebellion" of the sixth generation director, Gu Changwei's film is warm and calm. He pays more attention to life itself and conveys the deep sorrow of life through the accurate display of life force and bondage. Gu Changwei's theme, theme and artistic tone contain life consciousness everywhere. He has always been concerned about the ideals of small people and their collision with reality. In addition to expressing appreciation and respect, the film has a sobering understanding of the "length," width, "and" depth "that life cannot escape: the limits of life, death threats, times, geography, self-perception, ethics, and so on. It is cruel to reveal some kind of "truth" of life, causing the audience to think seriously about self and ego. Life to death and a positive attitude towards life may be the true strength of Gu Changwei's films. In addition to the rich "life consciousness" in the content, as the artistic tone of "form", the artistic tone also contains this kind of spiritual core: the image style full of poetical, simple, cold but without losing the life tension, The narrative rhythm, dialect and folklore play a powerful role in the expression of movie theme. Gu Changwei's cooperation with author Yan Lianke and others reflects another deep resonance and fusion of Chinese contemporary films and literature in their spiritual dimensions. The box office success also shows Gu Changwei's effective quest for a balance between art and business. This is in Chinese movie day by day diversification and internationalization today, the value is obvious. At the same time, we should also see the inadequacies of its films: the incomplete narration of "favorite", the deep astringency and incomprehensibility of "bibcock", which reflects the asymmetry between film expression and film acceptance, which is not only the one that Gu Changwei needs to explore. It is also an important subject on the way of the rise of Chinese film.
【學(xué)位授予單位】：渤海大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
本文編號：2322828
[Abstract]:Known as "China's first photographer," Gu Changwei, with directors Zhang Yimou, Chen Kaige and other directors, pushed Chinese films to the world. After switching to directing, Gu Changwei spent nearly a decade "grinding" his time trilogy and a micro-film. The rich film experience and deep artistic accumulation have refined his works' extraordinary artistic level and unique aesthetic style. Just as Gu Changwei himself said, "there is his understanding of life in the film," although his works capture different backgrounds of the times, his works always focus on the brilliance of ordinary life, and even more dialysis the contradictions in the depths of life. It shows a strong and compassionate sense of life. The root of all art is life, and life consciousness comes from the understanding and understanding of life and death. Different from the "family feelings" of the fifth generation director and the "individual rebellion" of the sixth generation director, Gu Changwei's film is warm and calm. He pays more attention to life itself and conveys the deep sorrow of life through the accurate display of life force and bondage. Gu Changwei's theme, theme and artistic tone contain life consciousness everywhere. He has always been concerned about the ideals of small people and their collision with reality. In addition to expressing appreciation and respect, the film has a sobering understanding of the "length," width, "and" depth "that life cannot escape: the limits of life, death threats, times, geography, self-perception, ethics, and so on. It is cruel to reveal some kind of "truth" of life, causing the audience to think seriously about self and ego. Life to death and a positive attitude towards life may be the true strength of Gu Changwei's films. In addition to the rich "life consciousness" in the content, as the artistic tone of "form", the artistic tone also contains this kind of spiritual core: the image style full of poetical, simple, cold but without losing the life tension, The narrative rhythm, dialect and folklore play a powerful role in the expression of movie theme. Gu Changwei's cooperation with author Yan Lianke and others reflects another deep resonance and fusion of Chinese contemporary films and literature in their spiritual dimensions. The box office success also shows Gu Changwei's effective quest for a balance between art and business. This is in Chinese movie day by day diversification and internationalization today, the value is obvious. At the same time, we should also see the inadequacies of its films: the incomplete narration of "favorite", the deep astringency and incomprehensibility of "bibcock", which reflects the asymmetry between film expression and film acceptance, which is not only the one that Gu Changwei needs to explore. It is also an important subject on the way of the rise of Chinese film.
【學(xué)位授予單位】：渤海大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
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