惡之花：中島哲也電影風(fēng)格探析
發(fā)布時間：2018-11-15 17:48
【摘要】：上世紀(jì)80年代,日本電影大制片廠制度土崩瓦解,經(jīng)歷了低迷期后在90年代有了新的起色,獨立制片公司大批涌現(xiàn),躍出了如北野武、巖井俊二等電影新人。他們在題材和形式上不斷創(chuàng)新,給各種類型注入了個人風(fēng)格化的基因。由此展開了一場異彩紛呈的日本新電影運動。同樣參與到這場運動的中島哲也因其以往作為廣告MV導(dǎo)演所養(yǎng)成的拍攝習(xí)慣、畫面風(fēng)格而在這批電影新人中脫穎而出。中島哲也的電影作品吸納了廣告式的快節(jié)奏,同時對于場景的設(shè)計、畫面的色彩及構(gòu)圖、人物的造型等都十分考究。除此之外,其也善于將CG動畫、歌舞劇等其它藝術(shù)樣式融入到作品當(dāng)中,產(chǎn)生強(qiáng)烈的視覺沖擊,達(dá)到陌生化的審美效果。華麗,是中島哲也電影鮮明的標(biāo)簽。作品中濃墨重彩的洛可可樣貌充斥華美的事物,高飽和的色彩和精致夸張的外貌使其電影帶有奇異的超現(xiàn)實色彩。中島哲也極力地探索視覺藝術(shù)的表現(xiàn)手段,在一定程度上向我們展現(xiàn)了畫面中各要素在烘托人物形象與情感傳達(dá)的更多可能性。然而被華麗的外貌裹挾著的是殘酷的世界。在他鏡頭下的角色總會進(jìn)入一個失真的或有悖于真實生活的情節(jié),作品的選材永遠(yuǎn)關(guān)照著超現(xiàn)實的另類故事,通過編制奇突的情節(jié)呈現(xiàn)出一個光怪陸離的藝術(shù)世界。在這個世界里面,人是怪異的、偏執(zhí)的,在人格上帶有不健全的表現(xiàn),與他人的疏離、冷漠使得他們無“家”可歸如孤獨者般存在,因此這些人便成為混跡現(xiàn)實世界中人群的異類。另類的題材內(nèi)容以扭曲、夸張、變形的方式進(jìn)行詮釋,帶給觀眾一個重新認(rèn)識、解讀生活的角度。透過奇特的外貌,中島電影的實質(zhì)是對現(xiàn)代日本社會內(nèi)部問題的批判。這種批判性表現(xiàn)出對人、對社會等的不滿,利用各種怪誕的表現(xiàn)形式,將這種批判意識在或明亮、或黑暗的影像中表達(dá)出來。成長、暴力、孤獨與罪都是中島熱衷表達(dá)的主題,關(guān)心的是當(dāng)下文化雜交狀態(tài)下的日本社會的面貌以及在社會中掙扎求生的蕓蕓眾生。中島借助唯美的、絢爛的表現(xiàn)形式描繪著不和諧、不正常的怪異世界,揭示的是冷漠、暴力、歧視、自私等丑陋問題。以“美”的手法來表現(xiàn)“丑”的事物,使作品的外貌與本質(zhì)產(chǎn)生強(qiáng)烈的反差,從而形成“惡之花”樣貌的獨特審美體驗及美學(xué)效果。對于已經(jīng)年近六旬的電影“新人”來說,中島哲也能夠在堅持自我的大膽創(chuàng)新的同時又能贏得觀眾的認(rèn)可實屬不易。他在迎合市場與堅定自我兩者之間能夠做出良好的平衡正是當(dāng)代電影人需要掌握的必備技能。通過歸納法探尋中島哲也電影更深層的思想內(nèi)涵,以期更好地理解中島哲也的藝術(shù)美學(xué)追求。同時對以后中島導(dǎo)演研究提供更多的研究、思考方向。
[Abstract]:In the 1980s, the Japanese film studio system collapsed, experienced a downturn in the 1990s made a new start, independent studios emerged in large numbers, such as Takeshi Kitano, Ishii Junji film newcomers. They innovate in subject matter and form, infusing personalised genes into various types. This launched a colorful new Japanese film movement. Also involved in the movement, Kishima Nakajima stands out among the film's newcomers because of his habit of shooting as an advertising MV director and the style of the film. Nakajima's film works absorb the fast rhythm of advertising, at the same time for the design of the scene, the color and composition of the screen, the shape of the characters are very sophisticated. In addition, it is good at incorporating other artistic styles such as CG animation, song and dance into the works, which has strong visual impact and achieves the aesthetic effect of strangeness. Gorgeous, is also the distinctive label of Nakajima philosophy film. Rococo's colorful appearance is full of beautiful things, high saturation color and exquisite and exaggerated appearance make the film with strange surreal color. Nakashima philosophy also tries its best to explore the means of expression of visual art, to a certain extent, showing us the various elements in the screen in contrast to the character image and emotional transmission of more possibilities. Yet it was the cruel world that was covered by the ornate appearance. The characters in his camera always enter into a distorted or contrary to the real life of the plot, the selection of works always take care of surreal alternative stories, through the preparation of strange plot to show a strange artistic world. In this world, people are weird, paranoid, with imperfections in their personality, alienated from others, and indifferent so that they have no "home" to return to as loners. As a result, these people become mixed in the real world of the crowd of different species. The alternative theme is interpreted in a distorted, exaggerated and deformed way, bringing the audience a new understanding and understanding of the angle of life. Through its peculiar appearance, the essence of the Nakajima film is to criticize the internal problems of modern Japanese society. This critical expression of dissatisfaction with people, society and so on, using all kinds of grotesque forms, this critical consciousness is expressed in bright or dark images. Growth, violence, loneliness and sin are the themes that Nakajima is keen to express. He is concerned about the appearance of Japanese society in the current cultural hybrid state and the masses of people struggling to survive in the society. With the help of beautiful and gorgeous forms, Nakajima depicts disharmonious and abnormal strange world and reveals ugly problems such as apathy, violence, discrimination, selfishness and so on. The expression of "ugliness" by means of "beauty" makes the appearance and essence of the work produce a strong contrast, thus forming the unique aesthetic experience and aesthetic effect of the appearance of "Flower of Evil". For the movie New Man, which is in its late sixties, it is not easy for Nakajima to be bold and innovative while winning the approval of the audience. His ability to strike a good balance between market-pandering and self-determination is an essential skill for contemporary filmmakers. In order to better understand the pursuit of art and aesthetics, this paper explores the deeper ideological connotation of the Chinese island philosophy film through induction. At the same time, the future of the director of the island to provide more research, thinking direction.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905
本文編號：2334011
[Abstract]:In the 1980s, the Japanese film studio system collapsed, experienced a downturn in the 1990s made a new start, independent studios emerged in large numbers, such as Takeshi Kitano, Ishii Junji film newcomers. They innovate in subject matter and form, infusing personalised genes into various types. This launched a colorful new Japanese film movement. Also involved in the movement, Kishima Nakajima stands out among the film's newcomers because of his habit of shooting as an advertising MV director and the style of the film. Nakajima's film works absorb the fast rhythm of advertising, at the same time for the design of the scene, the color and composition of the screen, the shape of the characters are very sophisticated. In addition, it is good at incorporating other artistic styles such as CG animation, song and dance into the works, which has strong visual impact and achieves the aesthetic effect of strangeness. Gorgeous, is also the distinctive label of Nakajima philosophy film. Rococo's colorful appearance is full of beautiful things, high saturation color and exquisite and exaggerated appearance make the film with strange surreal color. Nakashima philosophy also tries its best to explore the means of expression of visual art, to a certain extent, showing us the various elements in the screen in contrast to the character image and emotional transmission of more possibilities. Yet it was the cruel world that was covered by the ornate appearance. The characters in his camera always enter into a distorted or contrary to the real life of the plot, the selection of works always take care of surreal alternative stories, through the preparation of strange plot to show a strange artistic world. In this world, people are weird, paranoid, with imperfections in their personality, alienated from others, and indifferent so that they have no "home" to return to as loners. As a result, these people become mixed in the real world of the crowd of different species. The alternative theme is interpreted in a distorted, exaggerated and deformed way, bringing the audience a new understanding and understanding of the angle of life. Through its peculiar appearance, the essence of the Nakajima film is to criticize the internal problems of modern Japanese society. This critical expression of dissatisfaction with people, society and so on, using all kinds of grotesque forms, this critical consciousness is expressed in bright or dark images. Growth, violence, loneliness and sin are the themes that Nakajima is keen to express. He is concerned about the appearance of Japanese society in the current cultural hybrid state and the masses of people struggling to survive in the society. With the help of beautiful and gorgeous forms, Nakajima depicts disharmonious and abnormal strange world and reveals ugly problems such as apathy, violence, discrimination, selfishness and so on. The expression of "ugliness" by means of "beauty" makes the appearance and essence of the work produce a strong contrast, thus forming the unique aesthetic experience and aesthetic effect of the appearance of "Flower of Evil". For the movie New Man, which is in its late sixties, it is not easy for Nakajima to be bold and innovative while winning the approval of the audience. His ability to strike a good balance between market-pandering and self-determination is an essential skill for contemporary filmmakers. In order to better understand the pursuit of art and aesthetics, this paper explores the deeper ideological connotation of the Chinese island philosophy film through induction. At the same time, the future of the director of the island to provide more research, thinking direction.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 史曉峰;;“戲劇式”電影的創(chuàng)作風(fēng)格分析[J];西部廣播電視;2016年16期
2 閆彩蝶;;當(dāng)代日本電影的類型化之路及其啟示[J];傳媒觀察;2016年07期
3 任穎子;;以《告白》為例淺析光在電影中的造型與戲劇表現(xiàn)效果[J];視聽;2015年12期
4 師艷榮;;日本青少年“無緣化”現(xiàn)象解析[J];中國青年社會科學(xué);2015年02期
5 張生;;基督教“罪”概念的實在論分析[J];宗教學(xué)研究;2014年03期
6 趙婕;;《被嫌棄的松子的一生》主題及女性主義[J];電影文學(xué);2014年15期
7 王和平;;論日本電影中的青少年暴力美學(xué)世界[J];內(nèi)蒙古民族大學(xué)學(xué)報(社會科學(xué)版);2014年03期
8 奚欣華;;日本國內(nèi)對“硬暴力”的認(rèn)知問題研究[J];宿州學(xué)院學(xué)報;2013年11期
9 鐘晶;;喜劇方式演繹悲劇人生——解讀電影《被嫌棄的松子的一生》[J];青年文學(xué)家;2013年31期
10 胡毅美;;《基督徒之死》新釋——殉教文本下的潛文本[J];淮北師范大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2013年01期
相關(guān)博士學(xué)位論文 前1條
1 劉志新;用聲音寫作[D];上海戲劇學(xué)院;2006年
相關(guān)碩士學(xué)位論文 前10條
1 王姝;日本電影中的死亡審美研究[D];重慶大學(xué);2015年
2 李曉楠;中島哲也電影研究[D];上海師范大學(xué);2015年
3 王天;廣告MV跨界影視導(dǎo)演—創(chuàng)作風(fēng)格的共性與啟示[D];西安建筑科技大學(xué);2013年
4 胡燕娜;華麗影像負(fù)載下的“中島表達(dá)”[D];南京大學(xué);2013年
5 尹樂;日本新電影運動中的巖井俊二[D];南京大學(xué);2012年
6 裴培;論電影中的意象[D];山東師范大學(xué);2010年
7 沈?qū)毭?電影中“鏡子”意象研究[D];廣西師范大學(xué);2010年
8 吳漾;試論日本電影中的病態(tài)美學(xué)特征[D];華東師范大學(xué);2008年
9 冷紅霞;關(guān)于日本暴力電影的讀解與思考[D];北京師范大學(xué);2005年
10 沈穎;從社會環(huán)境看日本青少年問題[D];對外經(jīng)濟(jì)貿(mào)易大學(xué);2005年
，本文編號：2334011
本文鏈接：http://sikaile.net/wenyilunwen/dianyingdianshilunwen/2334011.html
教材專著
