【摘要】：影視動(dòng)畫作品中色彩作為一種獨(dú)特的介質(zhì)和表情達(dá)意的符號(hào),形成自身一系列傳遞信息的方式。首先,在色彩和概念之間已存在某種普遍認(rèn)同的契約關(guān)系;其次,色彩語(yǔ)言與普通語(yǔ)言一樣,遵從聚合關(guān)系和組合關(guān)系。其與普通語(yǔ)言的不同在于,它具有模擬代碼和表現(xiàn)代碼的雙重特征。色彩語(yǔ)言與影像語(yǔ)言實(shí)屬兩個(gè)代碼系統(tǒng)。影像語(yǔ)言無(wú)法完全涵蓋色彩語(yǔ)言的關(guān)鍵問(wèn)題是,在能指(影像)基本相同的情況下,往往會(huì)因色彩及亮度的不同,在所指層面上形成巨大反差甚至傳遞出完全相反的意義。色彩語(yǔ)言用色素創(chuàng)造出某種能夠與觀眾進(jìn)行溝通交流的表達(dá)句。這種色素構(gòu)成的表達(dá)一般受文化習(xí)俗和色彩暗示兩種規(guī)約性的限制。不同文化習(xí)俗的影響,使色彩語(yǔ)言帶有某種民族特點(diǎn);而由色彩暗示產(chǎn)生的心理聯(lián)想意義則是普世共識(shí)的。色彩語(yǔ)言能塑造形象推進(jìn)劇情的發(fā)展。無(wú)論是單格圖畫內(nèi)的色彩組合抑或畫面鏡頭之間的色彩組合,色彩要素的不同搭配均可以構(gòu)成特定內(nèi)涵的"句子",組成對(duì)人物善惡美丑等性格特征的陳述性表達(dá)。鏡頭與鏡頭的轉(zhuǎn)換銜接又使色彩具備了"線性"組合的特征,更傾向完成對(duì)一段復(fù)雜事件的意義傳遞。色彩之所以成為一種語(yǔ)言,不僅由于色彩具有表意特點(diǎn)、具有語(yǔ)言的聚合及組合關(guān)系;更為重要的是,這些模擬、表意、聚合、組合等內(nèi)涵都是現(xiàn)實(shí)生活賦予的。某些色彩形式早已對(duì)人們的意識(shí)構(gòu)成過(guò)影響。那些成為某種表達(dá)模式或公式化標(biāo)記的色彩語(yǔ)言,往往是啟動(dòng)了觀眾已有的生活經(jīng)驗(yàn)或知識(shí)儲(chǔ)備,因此,能夠在色彩與概念之間形成默認(rèn)的契約關(guān)系;人們很容易接受其中所蘊(yùn)涵的表達(dá)意圖,從而使色彩語(yǔ)言具有了表意功能。
[Abstract]:Color, as a unique medium and expressive symbol, forms its own series of ways to transmit information. First, there is a generally agreed contract relationship between color and concept; secondly, color language, like ordinary language, follows aggregation and combination relations. It is different from the common language in that it has the dual characteristics of analog code and presentation code. Color language and image language are two code systems. The key problem that the image language can not completely cover the color language is that when the signifier (image) is basically the same, it often forms a huge contrast or even conveys the opposite meaning at the signified level because of the difference of color and brightness. Color language uses pigment to create some kind of expression that can communicate with the audience. The expression of this pigment composition is generally limited by cultural custom and color implication. The influence of different cultural customs makes the color language have some national characteristics, while the psychological associative meaning produced by the color hint is universally agreed. Color language can shape the image to promote the development of the plot. Whether it is the color combination in the single picture or the color combination between the scenes, the different collocation of the color elements can form the "sentence" of the specific connotation, and form the declarative expression of the characters, such as good, evil, beauty, ugliness and so on. The conversion of lens and lens makes color have the characteristics of "linear" combination, and tends to complete the transfer of meaning to a complex event. The reason why color becomes a language is not only because it has the characteristics of ideographic meaning, but also because of the aggregation and combination of language. More importantly, these connotations of simulation, ideographic meaning, aggregation and combination are all given by real life. Some color forms have already influenced people's consciousness. The color language that becomes some kind of expression pattern or formulaic mark often starts the life experience or the knowledge reserve that the audience already has, therefore, can form the default contract relation between the color and the concept; It is easy to accept the intention contained in it, so that the color language has the function of ideographic meaning.
【作者單位】： 上海大學(xué)影視藝術(shù)技術(shù)學(xué)院;
【分類號(hào)】：J904

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

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本文編號(hào)：2147807