本文關(guān)鍵詞：“純粹電影”命題下立體電影的特性分析　出處：《聊城大學》2014年碩士論文　論文類型：學位論文

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【摘要】：有聲電影和彩色電影的問世被稱為電影技術(shù)的兩次重要革命,“聲音”和“色彩”的出現(xiàn)使電影“技藝”屬性的表達更加趨向完整。自21世紀初期,數(shù)字技術(shù)在電影藝術(shù)的領(lǐng)地之內(nèi),天馬行空般的“大行其道”,使其被推上了相較于前兩次技術(shù)革命同樣重要的位置,數(shù)字電影成為了真正的主流。而運用立體影像技術(shù)制作的立體電影,更是作為一枝獨秀的電影放映類型,迅速席卷整個電影市場。在科技進步所帶來的文化繁榮之中,立體電影曾一度是電影市場的強心劑,以其奇觀的視覺體驗優(yōu)勢刺激著整個電影產(chǎn)業(yè)的更新,無論是從票房成績還是影院播放機制都具有積極的良性效應(yīng)。隨著立體電影話題性與焦點性的前置地位,針對立體電影的理論研究多是集中在技術(shù)層面與產(chǎn)業(yè)方向,對于其本質(zhì)性的審視并不多見。本文以“純粹電影”為命題旨在突出從影像本體的角度對立體電影進行真實觀、空間感、立體性的特性分析,并在此過程之中,以安德烈·巴贊的美學思想為依據(jù),給予立體電影以上特性的理論關(guān)照。論文在對立體電影特性分析的同時,也對數(shù)字時代下,巴贊美學出現(xiàn)的熱點議題進行詳細論述與重新審視。將巴贊理論體系中“展示真實”、“銀幕窗戶”、“景深鏡頭”三個核心關(guān)鍵詞與立體電影“真實觀”、“空間感”、“立體性”的特性相應(yīng)的關(guān)聯(lián)起來,對之進行概念分析、對比探討、顛覆論證。試圖以“立體電影”作為一種研究類型,在擴充其理論范疇的基礎(chǔ)之上,對立體電影特性及其創(chuàng)作的“炫技”標簽進行脫離和正名。這是將個人解讀進行定義的一次嘗試,也是對經(jīng)典理論的一次致敬。
[Abstract]:Movies with sound and color film is known as the two important revolutionary film technology, "sound" and "color" to express the film "skill" attributes tend to be more complete. Since the beginning of twenty-first Century, digital technology in film art within the territory, a powerful and unconstrained style like "popular, which pushed on the first two compared to the same technological revolution important position, digital film has become a truly mainstream. While making use of three-dimensional imaging technology of three-dimensional movies, but also as a thriving film type, quickly swept through the whole movie market. Bring in the scientific and technological progress and cultural prosperity, three-dimensional film once the film market in the arm, with its advantages of stimulating visual experience the wonders of the whole film industry updates, whether it is from the box office or the cinema has a benign effect mechanism should be positive with. A front position of three-dimensional film topics and focus of the theoretical research for the three-dimensional film is more focused on the technical level and direction of the industry, to examine the nature of the rare. This "pure cinema" in order to highlight the real view of the proposition, the sense of space three-dimensional film from image ontology Perspective analysis of the characteristics of three-dimensional, and in this process, with Andre Bazin's aesthetics theory as the basis, given the above characteristics. The three-dimensional film in the analysis of three-dimensional film features at the same time, also in the digital era, Pakistan hot issues come praise in detail and re-examine the system of Barzun's theory ". Show", "screen window", "three core keywords depth lens and stereoscopic film" real view "," sense of space "," characteristic of three-dimensional "corresponding relation, The concept of comparative analysis, to explore, to subvert the argument. Trying to "stereo movie" as a type of research, based on the expansion of its theory, the characteristics of three-dimensional film and its creation virtuoso tab from the name. And this is an attempt to define personal interpretation, but also to a tribute to the classic theory.

【學位授予單位】：聊城大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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相關(guān)期刊論文 前1條

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本文編號：1382877