【摘要】：電影《大魚海棠》上映以來因臺(tái)詞過于現(xiàn)代、劇情交代不明飽受觀眾詬病,但其對(duì)豐富東方藝術(shù)形態(tài)的吸收和融入無疑是一次成功的傳統(tǒng)文化體驗(yàn)過程。該電影在人物設(shè)定、場(chǎng)景制作、價(jià)值觀念等方面對(duì)中國(guó)文化內(nèi)涵和人文情懷的最大化彰顯,令其具備了獨(dú)特的審美價(jià)值,其蘊(yùn)含的藝術(shù)美學(xué),需從多個(gè)角度予以審視。將符號(hào)化的文化素材具象化從而流暢地勾勒出中國(guó)傳統(tǒng)文化與民俗文化的形態(tài)是電影《大魚海棠》導(dǎo)演的創(chuàng)作出發(fā)點(diǎn),因而,整部電影都彌漫著濃郁的中國(guó)風(fēng)藝術(shù)色彩和美學(xué)內(nèi)涵。
[Abstract]:Since its release, the movie "Big Fish Begonia" has been criticized by the audience because its lines are too modern and the plot is not clear, but its absorption and integration into the rich oriental art form is undoubtedly a successful process of traditional cultural experience. The film's maximization of Chinese cultural connotation and humanistic feelings in the aspects of character setting, scene making and value concept makes it have unique aesthetic value, and its artistic aesthetics needs to be examined from many angles. It is the starting point for the director of the film "Big Fish and Begonia" to visualize the symbolic cultural material so as to smoothly outline the forms of Chinese traditional culture and folk culture. The whole film is permeated with rich Chinese style of art color and aesthetic connotation.
【作者單位】： 吉林動(dòng)畫學(xué)院;
【分類號(hào)】：J954
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本文編號(hào)：2332283