本文選題：電影剪輯 + 時間　； 參考：《江西師范大學(xué)》2014年碩士論文

【摘要】：傳統(tǒng)藝術(shù)一般分為兩類：一種是空間藝術(shù)，比如美術(shù)、建筑、舞蹈；一種是時間藝術(shù)，比如音樂、戲劇、文學(xué)，而電影則是時間藝術(shù)與空間藝術(shù)的綜合體。弗里克斯·恩格斯說：“一切存在的基本形式是空間和時間，時間以外的存在和空間以外的存在，同樣是十分荒謬的事情�！彪娪八囆g(shù)在其自身的發(fā)展過程中，有著多種多樣的時空結(jié)構(gòu)形式。而電影藝術(shù)家主要任務(wù)之一就是如何巧妙地將它們運用到電影敘事結(jié)構(gòu)中來。傳統(tǒng)敘事以線性時間發(fā)展為典型結(jié)構(gòu)類型，有清晰的敘事脈絡(luò)和線索，，以一系列互為關(guān)聯(lián)的事件按照線性安排環(huán)環(huán)相扣，最后導(dǎo)致一個戲劇性結(jié)局；而隨著電影的內(nèi)容和主題愈加豐富，對電影的敘事的手法也經(jīng)過不斷探索和嘗試后愈加多樣化，現(xiàn)代影片擺脫了舊的戲劇結(jié)構(gòu)的框子，利用非線性剪輯思維方式結(jié)構(gòu)影片做了種種大膽的嘗試，這就要求剪輯師在影片的創(chuàng)作過程中，需要根據(jù)導(dǎo)演的創(chuàng)作意圖和藝術(shù)構(gòu)思，對時空結(jié)構(gòu)方面有一個周密的設(shè)計，擬出于之相適應(yīng)的剪輯思路，架構(gòu)出最合適的時空和結(jié)構(gòu)，準(zhǔn)確完成影片的敘事，實現(xiàn)導(dǎo)演的藝術(shù)構(gòu)思進(jìn)而帶來新的時空結(jié)構(gòu)類型。本文對電影剪輯、電影時空和對時空敘事結(jié)構(gòu)及創(chuàng)造方法進(jìn)行了系統(tǒng)的思考，努力闡釋電影剪輯對電影時空結(jié)構(gòu)重建的重要作用，并總結(jié)了現(xiàn)代電影的六種反傳統(tǒng)的現(xiàn)代時空結(jié)構(gòu)方式，進(jìn)而形成了多種結(jié)構(gòu)并存的現(xiàn)代電影藝術(shù)。
[Abstract]:Traditional art is generally divided into two categories: one is space art, such as art, architecture, dance; the other is time art, such as music, drama, literature, and film is a combination of time art and space art. "the basic form of all existence is space and time," said Felix Engels. "it is also absurd to exist outside time and beyond space." Film art in its own development process, has a variety of space-time structure. One of the main tasks of film artists is how to apply them to the narrative structure of films. The traditional narrative takes the linear time development as the typical structure type, has the clear narrative thread and the clue, with a series of interrelated events according to the linear arrangement, finally leads to a dramatic ending; As the content and theme of the film become richer and the narrative techniques of the film become more diversified after constant exploration and attempt, the modern film has got rid of the frame of the old dramatic structure. A variety of bold attempts have been made to use the non-linear editing mode of thinking to structure the film, which requires the editor to have a thorough design of the space-time structure according to the director's creative intention and artistic conception in the course of the film creation. Based on the corresponding editing ideas, this paper constructs the most suitable time and space and structure, completes the narration of the film accurately, realizes the artistic conception of the director and then brings a new type of space-time structure. This paper makes a systematic thinking on film editing, film time and space, and the narrative structure and creation method of time and space, and tries to explain the important role of film editing in the reconstruction of film time and space structure. Six anti-traditional ways of modern space-time structure are summarized, and a variety of modern film art is formed.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J932

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 蘇·巴伯 ,理·梅塞 ,林瑞頤;《法國中尉的女人》詳析[J];世界電影;1988年02期

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