本文關(guān)鍵詞：伊文思紀(jì)錄片創(chuàng)作理念與實踐探析　出處：《陜西師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 伊文思 紀(jì)錄電影 中國 創(chuàng)作觀念

【摘要】：伊文思在六十多年的紀(jì)錄片創(chuàng)作生涯中堅持使用影像展示他的世界觀和信仰。盡管伊文思一生致力于紀(jì)錄電影的創(chuàng)作,但大部分觀眾都沒有理解其影片的真正含義,自始至終對他的評價都是毀譽(yù)參半。電影界在認(rèn)可他“電影詩人”的身份后,對其后期發(fā)展褒貶不一。伊文思紀(jì)錄電影創(chuàng)作的時期,也是伊文思電影美學(xué)觀念的發(fā)展期,創(chuàng)作理念在影片中得到具體的展示。1989年標(biāo)志著伊文思電影的終結(jié),但伊文思電影的研究則應(yīng)逐漸走向成熟。目前關(guān)于伊文思美學(xué)觀念更為深層次的探究并未見到,理論研究尤為缺乏,本文將理論與具體實證分析相結(jié)合,力爭避免單純的理論研究。 筆者結(jié)合之前人們對伊文思作品的研究,探索了伊文思電影中不斷改變的風(fēng)格和獨(dú)具特色的表現(xiàn)方式,以及創(chuàng)作動機(jī)和創(chuàng)作目的。通過對尤里斯·伊文思的人生歷程和創(chuàng)作過程的梳理,借鑒前人的方法將其劃分為四個階段：20世紀(jì)20年代——先鋒電影階段；30、40年代——“左翼”電影階段；60、70年代——“直接電影”階段；80年代——超現(xiàn)實主義階段。選取了每個時期典型的作品,分析研究每個時期的故事結(jié)構(gòu)和技術(shù)手段的特征,并與同時代其他導(dǎo)演作橫向比較。 文章主體分為五個部分,第一部分概述了伊文思的成長環(huán)境,分析了影片《橋》和《雨》,探尋“先鋒詩人”的由來。第二部分對伊文思的身份進(jìn)行了界定,即“社會宣傳家”和“電影戰(zhàn)士”的區(qū)別,分析與同時代導(dǎo)演弗拉哈迪、維爾托夫、格里爾遜的異同,解析了影片《博里納奇礦區(qū)》和《四萬萬人民》。第三部分通過對《上海第三醫(yī)藥商店》和《球的故事》的詳細(xì)解讀,分析了影片《愚公移山》的特色,比較《愚公移山》和安東尼奧尼的《中國》在拍攝背景與初衷,創(chuàng)作視角手法、拍攝技巧和影響。第四部分通過對影片《風(fēng)的故事》的情節(jié)和意向的解讀,分析其創(chuàng)作觀念的轉(zhuǎn)變。第五部分闡釋了伊文思與中國的關(guān)系,以及伊文思作品對后世的影響。 文章通過分析不同時代的典型作品得出如下結(jié)論：伊文思與眾不同的電影觀念在他的一生及其紀(jì)錄電影的創(chuàng)作過程中都在不斷地體現(xiàn)著,簡而言之,他所堅持的是在處理被拍攝者和事件時,創(chuàng)作者具有“重新建構(gòu)”的權(quán)力。在他看來創(chuàng)作者對真實性的觀察和感覺要遠(yuǎn)遠(yuǎn)重要于事件表面所顯示的真實性。正是在這一理念的堅持,伊文思認(rèn)同合理性的“搬演”。伊文思終其一生都在尋求電影內(nèi)容的內(nèi)在真實與表象真實的統(tǒng)一,為此他選擇了紀(jì)錄影像來表現(xiàn)內(nèi)心感受,在影片中融匯不同時代的流行語言,探求最為有力的表現(xiàn)方式,并將這種體驗傳達(dá)給觀眾。
[Abstract]:Throughout his more than 60 years of documentary writing, Evans has consistently used images to show his world view and beliefs, despite his lifelong commitment to documenting the creation of films. But most of the audience did not understand the true meaning of his film, and his comments were mixed from beginning to end. The film industry recognized him as a "film poet". The period of Evens' recording film creation is also the development period of Evans' film aesthetic concept. Creative ideas are shown in the film. 1989 marks the end of Evans' film. However, the study of Evans film should gradually become mature. At present, the deeper research on the esthetics concept of Evans has not been seen, especially the lack of theoretical research, this paper combines the theory with the concrete empirical analysis. Strive to avoid pure theoretical research. Combined with previous studies on Evans' works, the author explores the changing style and unique expression of Evans' films. And the motive and purpose of creation. By combing the life course and creative process of Uriz Evans, we divide it into four stages: 20s of the 20th century, the stage of pioneer film, using the methods of predecessors. The 1940s-the stage of the film "left wing"; The "direct film" stage in the 1960s; 80s-surrealism stage. The typical works of each period are selected, the characteristics of story structure and technical means of each period are analyzed and studied, and compared horizontally with other directors of the same era. The main body of the article is divided into five parts. The first part summarizes the growing environment of Evans, analyzes the film "Bridge" and "Rain", and explores the origin of "Pioneer Poet". The second part defines the identity of Evans. Namely "Social propagandists" and "Film Warriors" the difference between the analysis and contemporary directors Flahatti, Wiltov, Gleason similarities and differences. In the third part, through the detailed interpretation of Shanghai third Medicine Store and the Story of Ball, the characteristics of the film "Yugong moving to Dashan" are analyzed. Comparing the background and original intention of shooting, the technique of visual angle of creation, shooting skill and influence between "Yu Gong" and Antonioni's "China". 4th part through the interpretation of the plot and intention of the film "the Story of Wind". Part 5th explains the relationship between Evans and China and the influence of Evans' works on later generations. By analyzing the typical works of different times, this paper draws the following conclusion: Evans' unique concept of film is constantly reflected in his life and in the process of his documentary film creation, in short. What he insists on is dealing with the subject and the incident. The creator has the power to "reconstruct". In his view, the creators' observation and feeling of authenticity is far more important than the apparent authenticity of the event. Evans agreed with the rational "moving". Evans sought the unity of the inner truth and the apparent truth of the film content all his life, so he chose the recording image to express his inner feelings. In the film, the popular language of different times is combined to explore the most powerful way of expression, and to convey the experience to the audience.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J952

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