本文關(guān)鍵詞：剪輯創(chuàng)作在電影文本建構(gòu)中的修辭介入——以廖慶松剪輯“自由度”的拓展為例　出處：《學(xué)術(shù)交流》2017年05期 　論文類型：期刊論文

  更多相關(guān)文章： 廖慶松 電影剪輯修辭 自由度

【摘要】：電影剪輯藝術(shù)創(chuàng)作實踐是電影后期制作環(huán)節(jié)的三度創(chuàng)作。剪輯師在創(chuàng)作過程中,參與電影修辭實踐的"自由度"是剪輯師成長和創(chuàng)作生涯中始終面臨的問題。廖慶松作為臺灣著名電影剪輯師,他四十余年的剪輯藝術(shù)創(chuàng)作生涯展現(xiàn)了其電影修辭技能養(yǎng)成以及修辭運作邏輯由外而內(nèi)的美學(xué)嬗變,從剪輯技法圓融度和剪輯處置參考點的嬗變維度可見廖慶松剪輯藝術(shù)美學(xué)升級進程中所呈現(xiàn)的從動作主導(dǎo)、導(dǎo)演主導(dǎo)、情感主導(dǎo)到由剪輯師自身完整度主導(dǎo)的詩化剪輯策略等階段性剪輯觀念,這為電影剪輯學(xué)人提供了一個深切體認電影剪輯修辭要義的通道和一個明晰了解剪輯技能養(yǎng)成方法的范本。
[Abstract]:The practice of film editing art creation is the third creation of film post production. The editor is in the process of creation. "Freedom" in the practice of film rhetoric has always been a problem faced by editors in their growing up and creative careers. Liao Qingsong is a famous film editor in Taiwan. His artistic editing career of more than 40 years shows the aesthetic evolution of his rhetorical skills and the logic of rhetoric operation from outside to inside. From the perspective of editing techniques and the transmutation dimension of the reference point of editing disposal, it can be seen that Liao Qingsong's artistic aesthetic upgrading process is dominated by action and directed by director. Emotional dominance to the editor's own integrity of the poetic editing strategy and other phased editing concepts. This provides the film editor with a deep understanding of the rhetorical meaning of film editing and a model for developing a clear understanding of editing skills.
【作者單位】： 中國傳媒大學(xué)動畫與數(shù)字藝術(shù)學(xué)院;北京電影學(xué)院導(dǎo)演系;天津電視臺;
【基金】：2015年教育部人文社科重點研究基地中國傳媒大學(xué)廣播電視研究中心一般項目“影視數(shù)字特效敘事研究”(2015JDYB03)
【分類號】：J932
【正文快照】： 3.天津電視臺,天津300020)傳統(tǒng)意義上,電影前期創(chuàng)作階段的文學(xué)劇本創(chuàng)作被視為一度創(chuàng)作,對文學(xué)劇本進行影像化改造的中期拍攝階段的電影創(chuàng)作稱為二度創(chuàng)作,而電影剪輯藝術(shù)創(chuàng)作實踐作為電影后期創(chuàng)作環(huán)節(jié)的三度創(chuàng)作卻很少被學(xué)界關(guān)注。區(qū)別于其他門類的藝術(shù)創(chuàng)作,在電影剪輯藝術(shù)的創(chuàng)，

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