奧斯卡影像再現(xiàn)和表現(xiàn)機(jī)制研究
發(fā)布時(shí)間：2018-08-13 20:16
【摘要】：再現(xiàn)和表現(xiàn)是一切藝術(shù)的兩種最基本的生產(chǎn)機(jī)制。然而，百年以來(lái)的電影學(xué)界對(duì)再現(xiàn)和表現(xiàn)這樣一個(gè)極端重要的藝術(shù)元問(wèn)題無(wú)人問(wèn)津。具體到奧斯卡藝術(shù)，很多學(xué)者都把精力集中到關(guān)于奧斯卡獎(jiǎng)評(píng)選機(jī)制和單個(gè)作品的分析評(píng)價(jià)上。顯然，這些研究無(wú)法回答和解釋奧斯卡影像魅力的深層機(jī)制。本論文首次將研究視角對(duì)準(zhǔn)這一學(xué)術(shù)空白領(lǐng)域，目的在于揭示和闡明奧斯卡影像特有的再現(xiàn)和表現(xiàn)機(jī)制，探索奧斯卡影像獨(dú)特的美學(xué)原理，為中國(guó)電影的國(guó)際化路徑指明方向。 本論文以“自由情感美學(xué)”為基本審美思想，以系統(tǒng)觀為考察研究材料的基本視角，以近百年奧斯卡金像獎(jiǎng)和其他奧斯卡單項(xiàng)獎(jiǎng)作品為主要研究材料，綜合運(yùn)用實(shí)證研究、思辨研究、比較研究三種研究方法，對(duì)奧斯卡影像再現(xiàn)和表現(xiàn)藝術(shù)機(jī)制進(jìn)行解析。論文主要論證奧斯卡影像的表演、時(shí)間、空間、色調(diào)、鏡頭運(yùn)動(dòng)、構(gòu)圖、修辭、片名這八種影像語(yǔ)言的表達(dá)機(jī)制。 表演是電影藝術(shù)的突出美點(diǎn)之一�！俺晒Φ谋硌荨笔茄輪T的職業(yè)倫理和至高訴求，也是電影觀眾的視野期待。奧斯卡藝術(shù)被公認(rèn)為商業(yè)價(jià)值和美學(xué)價(jià)值的雙重勝利，其中演員的本色表演是一個(gè)重要的領(lǐng)先的藝術(shù)機(jī)制。本色表演的影像風(fēng)格呈現(xiàn)為直觀真實(shí)，高度凝聚觀眾注意力，強(qiáng)烈激發(fā)自由情感；其內(nèi)在機(jī)制則在于最大限度地再現(xiàn)和表現(xiàn)人性，在極為性格化的角色塑造中最終實(shí)現(xiàn)主觀與客觀、普遍性與特殊性的統(tǒng)一。這就是奧斯卡表演藝術(shù)的精髓。 電影的時(shí)間性使其成為一門(mén)娓娓道來(lái)的動(dòng)的藝術(shù)。奧斯卡影像對(duì)時(shí)間的運(yùn)用有其優(yōu)越和不足之處。內(nèi)部時(shí)間以再現(xiàn)現(xiàn)實(shí)客觀世界時(shí)間為基礎(chǔ)，尊重人的認(rèn)知規(guī)律；其他內(nèi)部時(shí)間致力于從生理和心理上滿(mǎn)足人對(duì)事件的求知和審美需要，讓人在遺忘時(shí)間中達(dá)到移情效果。外部時(shí)間的情節(jié)點(diǎn)設(shè)置會(huì)影響電影的膠片時(shí)間。膠片時(shí)間過(guò)長(zhǎng)的影片人性關(guān)照不足，導(dǎo)致情節(jié)高潮不能與觀眾的情緒高潮產(chǎn)生共振，有礙自由情感的生發(fā)。 電影空間是電影影像的本體，呈現(xiàn)為連續(xù)的二維動(dòng)畫(huà)結(jié)構(gòu)，是視覺(jué)美學(xué)的核心。奧斯卡影像空間的構(gòu)建基于人的視覺(jué)原理和認(rèn)知規(guī)律，從不制造難以理解的視覺(jué)空間，而是著力構(gòu)建逼真、新奇、平衡、勻稱(chēng)等盡可能符合人類(lèi)審美定律的畫(huà)面空間。這與某些歐洲電影刻意追求修辭空間，有意阻拒觀眾視覺(jué)通達(dá)的藝術(shù)電影追求拉開(kāi)了距離。 影像色調(diào)以一種既模糊又有一定導(dǎo)向的方式輔助影像傳達(dá)情感和意義。奧斯卡影像的色調(diào)運(yùn)用以表達(dá)人性為終極目的，以逼真塑造生活實(shí)體為基本宗旨，避免花哨浮躁的形式主義，有的放矢地挑戰(zhàn)觀眾的視覺(jué)審美經(jīng)驗(yàn)，力求取得色調(diào)再現(xiàn)和表現(xiàn)的完美平衡，因此最具激發(fā)觀眾自由情感的潛力。 鏡頭運(yùn)動(dòng)是電影的基本敘事手段和造型手段。不同于歐洲電影以藝術(shù)家的主觀理念表達(dá)為出發(fā)點(diǎn)的創(chuàng)作原則，奧斯卡影像的鏡頭運(yùn)動(dòng)基于人的生理和心理需求，，力求使人性得到充分的關(guān)照和表達(dá)。從整個(gè)鏡頭運(yùn)動(dòng)機(jī)制來(lái)看，奧斯卡影像尋求并踐行鏡頭運(yùn)動(dòng)再現(xiàn)和表現(xiàn)的中庸點(diǎn)，使其鏡頭運(yùn)動(dòng)能夠發(fā)揮最高德性，以最大限度地激發(fā)觀眾的自由情感。 構(gòu)圖是鏡頭的基本單元，也是電影藝術(shù)形式美學(xué)的基礎(chǔ)。不同于歐洲電影在鏡頭構(gòu)圖上的抽象形式理念，奧斯卡影像創(chuàng)造了純粹形式、表意形式和表情形式三種主要構(gòu)圖原則，形成了獨(dú)具特色的形式美學(xué)。純粹形式以直觀真實(shí)為基本手段最大限度地滿(mǎn)足觀眾的視覺(jué)欲求，奇觀是純粹形式的典型標(biāo)志。表意形式和表情形式則以思想內(nèi)容和情感意蘊(yùn)的表達(dá)為核心組織畫(huà)面，這兩種畫(huà)面構(gòu)圖的組織和創(chuàng)造無(wú)一例外地建立在豐厚的人性審美經(jīng)驗(yàn)基礎(chǔ)上，因而很容易激起觀眾強(qiáng)烈的自由情感，并以此與其他電影藝術(shù)構(gòu)圖美學(xué)劃清了界限。 修辭是使影像從普通物到藝術(shù)品的跳板。奧斯卡影像的修辭有其獨(dú)特的表達(dá)機(jī)制。她將藝術(shù)家的審美理念與大眾的接受能力有機(jī)結(jié)合，既有“度”上的思量，也有“量”上的考究；將現(xiàn)實(shí)理性與藝術(shù)感性巧妙連結(jié)，引發(fā)觀眾對(duì)人性本真的思考；使影像中的真、善、美互相引發(fā)，相映生輝，激起觀眾強(qiáng)烈的自由情感。 片名是展示電影神采的最好平臺(tái)，是電影中唯一合法且極為重要的文字表現(xiàn)。奧斯卡影像中美的片名能激發(fā)觀眾的自由情感，它們或者借助原著或片中著名元素的影響力平步青云；或者從形式、內(nèi)容、意蘊(yùn)上打造自身，構(gòu)成一種令人無(wú)限想往的意境。而其片名表達(dá)并沒(méi)有豎起統(tǒng)一的美學(xué)標(biāo)桿，部分片名游離在美的范疇之外。 總的來(lái)說(shuō)，奧斯卡影像通過(guò)合理地運(yùn)用再現(xiàn)和表現(xiàn)的方法對(duì)“人性”這一藝術(shù)命題進(jìn)行了充分的把握、觀照和關(guān)照，將科學(xué)理性與藝術(shù)感性、商業(yè)性與藝術(shù)性空前完美地融合在了一起，從而能夠看似毫不費(fèi)力地激發(fā)觀眾強(qiáng)烈的自由情感，成為世界電影的楷模。奧斯卡影像的再現(xiàn)和表現(xiàn)機(jī)制為我國(guó)電影走出國(guó)門(mén)走向世界提供了有力的借鑒。
[Abstract]:Reproduction and expression are the two most basic production mechanisms of all arts. However, the film circles have been ignoring such an extremely important artistic element as reproducing and expression for centuries. These studies can not answer and explain the deep mechanism of the glamour of Oscar images. This paper focuses on this academic blank field for the first time, aiming at revealing and clarifying the unique reproduction and expression mechanism of Oscar images, exploring the unique aesthetic principles of Oscar images, and pointing out the direction for the internationalization of Chinese films.
This dissertation takes "free emotional aesthetics" as the basic aesthetic thought, takes the system view as the basic angle of view to investigate the research materials, takes the Oscar Academy Award and other Oscar award works as the main research materials, comprehensively uses empirical research, speculative research, comparative study of three research methods, to Oscar image reproduction and performance art. This paper mainly demonstrates the expression mechanism of the eight image languages: performance, time, space, tone, lens movement, composition, rhetoric and film title.
"Successful performance" is the actor's professional ethics and the highest appeal, and is also the vision of the film audience. Oscar art is recognized as a double victory of commercial and aesthetic values, in which the actor's performance is an important leading art mechanism. The image style of the performance of the true color. The inner mechanism is to reproduce and express human nature to the greatest extent, and ultimately realize the unity of subjectivity and objectivity, universality and particularity in the extremely personalized role-building. This is the essence of Oscar performing arts.
The timeliness of movies makes it a vivid art. Oscar images have their advantages and disadvantages in the use of time. Internal time is based on the reappearance of real and objective world time, respecting people's cognitive laws; other internal time is devoted to satisfying people's need for knowledge and aesthetic appreciation of events, both physically and psychologically. The setting of emotional nodes in the external time will affect the film time. The lack of human care in the film for too long leads to the fact that the climax of the plot can not resonate with the emotional climax of the audience and hinders the generation of free emotion.
The construction of Oscar's image space is based on the principle of human vision and cognitive law. It never creates difficult visual space, but focuses on the construction of realistic, novel, balanced and symmetrical pictures which conform to the law of human aesthetics as far as possible. Space. This is a long way from the pursuit of rhetorical space in some European films, which intentionally obstructs the visual access of the audience.
The use of tones in Oscar's images is aimed at expressing human nature as the ultimate goal, realistically shaping the entity of life as the basic purpose, avoiding flashy formalism, and challenging the audience's visual aesthetic experience in a purposeful way so as to achieve a new tone. The perfect balance between performance and performance, therefore, has the potential to arouse audience's free emotion.
The motion of the lens is the basic narrative and modeling means of the film. Unlike European films, which are based on the artist's subjective ideas, the motion of the lens of the Oscar image is based on human physiological and psychological needs, and strives to make human nature be fully taken care of and expressed. Seeking and practicing the golden mean point of lens motion reproduction and performance can make its lens movement play the highest virtue and stimulate the audience's free emotion to the greatest extent.
The composition is the basic unit of the lens and the foundation of the aesthetics of the form of film art.Unlike the abstract concept of form in the composition of the lens in European films, Oscar images create three main principles of composition: pure form, ideographic form and expressive form, which form a unique formal aesthetics.Pure form is based on intuitive reality. Duan satisfies the audience's visual desire to the greatest extent, and the spectacle is a typical sign of pure form. The ideographic form and the expressive form organize the picture with the expression of ideological content and emotional implication as the core. The organization and creation of these two kinds of picture composition are all based on rich human aesthetic experience, so it is easy to arouse the view. Strong emotions of freedom, and draw a clear line with other film art aesthetics.
Rhetoric is the springboard from ordinary objects to artworks. Oscar's image rhetoric has its unique expression mechanism. She combines the artist's aesthetic ideas with the public's reception ability organically, both in terms of "degree" and "quantity"; cleverly links the realistic reason with the artistic perception, triggering the audience's authenticity of human nature. Thinking, making the real, good, and beautiful in the images trigger each other, reflect each other's brilliance, and arouse the audience's strong free emotion.
Titles are the best platform to show the beauty of a film and the only legitimate and important written expression in the film. The titles in the Oscar films can stimulate the audience's free emotions, either by means of the influence of the famous elements in the original works or films, or by means of the form, content, and connotation to create themselves, forming a kind of nihility. The expression of film titles does not set up a unified aesthetic benchmark, and part of the film titles dissociate from the category of beauty.
Generally speaking, Oscar's image fully grasps the artistic proposition of "human nature" by reasonably using the methods of representation and expression, observes and takes care of it, and perfectly combines scientific rationality with artistic sensibility, commercialism with artistry, so as to seemingly effortlessly stimulate the audience's strong free emotion. As a model of the world film, the reproduction and expression mechanism of Oscar images provide a powerful reference for Chinese films to go abroad and go to the world.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J905
本文編號(hào)：2182067
[Abstract]:Reproduction and expression are the two most basic production mechanisms of all arts. However, the film circles have been ignoring such an extremely important artistic element as reproducing and expression for centuries. These studies can not answer and explain the deep mechanism of the glamour of Oscar images. This paper focuses on this academic blank field for the first time, aiming at revealing and clarifying the unique reproduction and expression mechanism of Oscar images, exploring the unique aesthetic principles of Oscar images, and pointing out the direction for the internationalization of Chinese films.
This dissertation takes "free emotional aesthetics" as the basic aesthetic thought, takes the system view as the basic angle of view to investigate the research materials, takes the Oscar Academy Award and other Oscar award works as the main research materials, comprehensively uses empirical research, speculative research, comparative study of three research methods, to Oscar image reproduction and performance art. This paper mainly demonstrates the expression mechanism of the eight image languages: performance, time, space, tone, lens movement, composition, rhetoric and film title.
"Successful performance" is the actor's professional ethics and the highest appeal, and is also the vision of the film audience. Oscar art is recognized as a double victory of commercial and aesthetic values, in which the actor's performance is an important leading art mechanism. The image style of the performance of the true color. The inner mechanism is to reproduce and express human nature to the greatest extent, and ultimately realize the unity of subjectivity and objectivity, universality and particularity in the extremely personalized role-building. This is the essence of Oscar performing arts.
The timeliness of movies makes it a vivid art. Oscar images have their advantages and disadvantages in the use of time. Internal time is based on the reappearance of real and objective world time, respecting people's cognitive laws; other internal time is devoted to satisfying people's need for knowledge and aesthetic appreciation of events, both physically and psychologically. The setting of emotional nodes in the external time will affect the film time. The lack of human care in the film for too long leads to the fact that the climax of the plot can not resonate with the emotional climax of the audience and hinders the generation of free emotion.
The construction of Oscar's image space is based on the principle of human vision and cognitive law. It never creates difficult visual space, but focuses on the construction of realistic, novel, balanced and symmetrical pictures which conform to the law of human aesthetics as far as possible. Space. This is a long way from the pursuit of rhetorical space in some European films, which intentionally obstructs the visual access of the audience.
The use of tones in Oscar's images is aimed at expressing human nature as the ultimate goal, realistically shaping the entity of life as the basic purpose, avoiding flashy formalism, and challenging the audience's visual aesthetic experience in a purposeful way so as to achieve a new tone. The perfect balance between performance and performance, therefore, has the potential to arouse audience's free emotion.
The motion of the lens is the basic narrative and modeling means of the film. Unlike European films, which are based on the artist's subjective ideas, the motion of the lens of the Oscar image is based on human physiological and psychological needs, and strives to make human nature be fully taken care of and expressed. Seeking and practicing the golden mean point of lens motion reproduction and performance can make its lens movement play the highest virtue and stimulate the audience's free emotion to the greatest extent.
The composition is the basic unit of the lens and the foundation of the aesthetics of the form of film art.Unlike the abstract concept of form in the composition of the lens in European films, Oscar images create three main principles of composition: pure form, ideographic form and expressive form, which form a unique formal aesthetics.Pure form is based on intuitive reality. Duan satisfies the audience's visual desire to the greatest extent, and the spectacle is a typical sign of pure form. The ideographic form and the expressive form organize the picture with the expression of ideological content and emotional implication as the core. The organization and creation of these two kinds of picture composition are all based on rich human aesthetic experience, so it is easy to arouse the view. Strong emotions of freedom, and draw a clear line with other film art aesthetics.
Rhetoric is the springboard from ordinary objects to artworks. Oscar's image rhetoric has its unique expression mechanism. She combines the artist's aesthetic ideas with the public's reception ability organically, both in terms of "degree" and "quantity"; cleverly links the realistic reason with the artistic perception, triggering the audience's authenticity of human nature. Thinking, making the real, good, and beautiful in the images trigger each other, reflect each other's brilliance, and arouse the audience's strong free emotion.
Titles are the best platform to show the beauty of a film and the only legitimate and important written expression in the film. The titles in the Oscar films can stimulate the audience's free emotions, either by means of the influence of the famous elements in the original works or films, or by means of the form, content, and connotation to create themselves, forming a kind of nihility. The expression of film titles does not set up a unified aesthetic benchmark, and part of the film titles dissociate from the category of beauty.
Generally speaking, Oscar's image fully grasps the artistic proposition of "human nature" by reasonably using the methods of representation and expression, observes and takes care of it, and perfectly combines scientific rationality with artistic sensibility, commercialism with artistry, so as to seemingly effortlessly stimulate the audience's strong free emotion. As a model of the world film, the reproduction and expression mechanism of Oscar images provide a powerful reference for Chinese films to go abroad and go to the world.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J905
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