【摘要】：電影藝術的表達形式想要達到意義深遠就要具有深刻的思想內(nèi)涵,而真正想要在虛擬的影像中達到這種效果就無法脫離電影時空的塑造。在電影的世界里,電影時空與哲學猶如雙胞胎兄弟,親密關系表達完全在存在中體現(xiàn)。這份存在是時空結(jié)構(gòu)的存在,與電影世界中的"存在"有著同一性。是電影中所提到的疏明之境和真理之境,與電影中追求的本質(zhì)要素可謂殊途同歸。電影借助鏡頭語言等手段展現(xiàn)世界和人類精神的本真。這既是電影作為藝術的內(nèi)在基礎,也是電影時空美學的邏輯起點。
[Abstract]:If the expression form of film art wants to achieve far-reaching significance, it must have profound ideological connotation, and if you really want to achieve this effect in virtual images, you can not be separated from the shaping of film time and space. In the world of film, film time and space and philosophy are like twin brothers, the expression of intimate relationship is completely reflected in the existence. This existence is the existence of space-time structure, and has the same identity with the existence in the film world. It is the state of clarity and truth mentioned in the film, which is the same as the essential elements pursued in the film. The film uses lens language and other means to show the true nature of the world and human spirit. This is not only the internal basis of film as art, but also the logical starting point of film space-time aesthetics.
【作者單位】： 山東工藝美術學院;
【分類號】：J901
，

本文編號：2482262