【摘要】：電影從誕生之初到數(shù)字時(shí)代來臨,影像奇觀頻繁出現(xiàn)在觀眾視野。電影技術(shù)的不斷升級(jí)使人類可以更加輕易的實(shí)現(xiàn)想象中場(chǎng)景的影像化,使我們可以看到萬年前的古生物、千年后的星球奇觀等等。這些“奇觀”對(duì)電影產(chǎn)生了巨大的影響,這是技術(shù)和藝術(shù)完美結(jié)合的產(chǎn)物。本研究希望在漫長(zhǎng)的電影史長(zhǎng)河中梳理影像奇觀的脈絡(luò),通過對(duì)影像奇觀發(fā)展史的梳理,針對(duì)每一個(gè)階段的技術(shù)特點(diǎn)和美學(xué)特征,并結(jié)合文本分析進(jìn)行研究。本研究按照影像奇觀發(fā)展的四個(gè)階段進(jìn)行分章,主要將論述以下內(nèi)容:第一章為緒論。主要是對(duì)本論題的說明,包括研究原因,論題中“奇觀”的釋義、“影像奇觀”的限定說明,以及之所以將其分為四個(gè)階段的闡述。第二章為早期影像奇觀的研究,主要針對(duì)影像奇觀產(chǎn)生的背景進(jìn)行總結(jié),并主要對(duì)影像奇觀的先驅(qū)喬治·梅里埃所拍攝的《消失的女子》、《音樂狂》、《月球旅行記》三部影片進(jìn)行文本分析,從而探討早期影像奇觀的技術(shù)特點(diǎn)和美學(xué)特征。第三章為影像奇觀發(fā)展的滯緩時(shí)期,在說明了這一時(shí)期之所以會(huì)出現(xiàn)發(fā)展緩慢的原因之后,對(duì)逆境而生的《金剛》進(jìn)行解讀,分析這一時(shí)期影像奇觀的進(jìn)步以及指出真實(shí)性欠缺的相關(guān)問題。第四章是對(duì)影像奇觀發(fā)展的轉(zhuǎn)折期的研究,轉(zhuǎn)折點(diǎn)是《2001太空漫游》,這一時(shí)期的關(guān)鍵問題就是解決奇觀影像的真實(shí)性問題。第五章是當(dāng)代影像奇觀研究,結(jié)合數(shù)字技術(shù)的發(fā)展,針對(duì)多部影片的多個(gè)特點(diǎn)進(jìn)行逐一研究。第六章基于上述影像奇觀發(fā)展史的研究提出了影像奇觀發(fā)展的幾個(gè)可能性。最后,對(duì)影像奇觀的整個(gè)發(fā)展脈絡(luò)進(jìn)行總結(jié)和梳理,形成影像奇觀簡(jiǎn)史。
[Abstract]:From the beginning of the birth to the advent of the digital age, film spectacles frequently appear in the audience's field of view. The continuous upgrading of film technology makes it easier for humans to visualize imaginary scenes, allowing us to see ancient creatures thousands of years ago, planetary wonders after a thousand years, and so on. These "wonders" have a great impact on the film, which is the perfect combination of technology and art. This study hopes to sort out the vein of image spectacle in the long history of film, through combing the development history of image spectacle, aiming at the technical and aesthetic characteristics of each stage, and combining with the text analysis to carry on the research. This research is divided into four stages according to the development of image spectacle. The main content will be discussed as follows: the first chapter is the introduction. It is mainly about the explanation of this topic, including the research reasons, the definition of "wonder", the definition of "image spectacle", and the explanation of the reason why it is divided into four stages. The second chapter is the study of the early image wonders, mainly aimed at the background of the image wonders, and mainly to the image spectacle pioneer George Merier shot "the disappeared woman", "Music Crazy", In this paper, three films are analyzed in order to discuss the technical and aesthetic features of the early image wonders. The third chapter is the slow period of the development of image wonders. After explaining the reasons for the slow development of this period, the author interprets the "King Kong" born from adversity. This paper analyzes the progress of the image spectacle in this period and points out the related problems of the lack of authenticity. The fourth chapter is the study of the turning point of the development of image wonders. The turning point is "2001 Space Walk". The key problem in this period is to solve the problem of the authenticity of the spectacle images. The fifth chapter is the contemporary image spectacle research, combined with the development of digital technology, aimed at the multiple characteristics of multiple films one by one. The sixth chapter puts forward several possibilities for the development of image wonders based on the research of the development history of image wonders mentioned above. Finally, the whole development of image spectacle is summarized and combed, and a brief history of image spectacle is formed.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J905

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