【摘要】：賈樟柯一直堅(jiān)持作品的紀(jì)實(shí)性,但他沒有把作品當(dāng)作生活的復(fù)印機(jī),他的作品,是紀(jì)實(shí)與虛構(gòu)的結(jié)合,他追求的不是原始的真實(shí),而是更高層次上的藝術(shù)真實(shí)。原生狀態(tài)的生活展示、不動(dòng)聲色的冷峻記錄、大量的長鏡頭運(yùn)用、故事的不確定性結(jié)尾方式、業(yè)余演員和方言的運(yùn)用等等,形成了賈樟柯電影的紀(jì)實(shí)美學(xué)風(fēng)格。
[Abstract]:Jia Zhangke has always insisted on the documentary nature of his work, but he did not regard it as a photocopier of life. His work is a combination of documentary and fictional. What he pursues is not the original reality, but the higher level of artistic reality. The real aesthetic style of Jia Zhangke's films is formed by the display of the original state of life, the quiet cold record, the use of a large amount of long lens, the uncertainty of the ending of the story, the use of amateur actors and dialects, and so on, which forms the documentary aesthetic style of Jia Zhangke's films.
【作者單位】： 浙江藝術(shù)職業(yè)學(xué)院;
【分類號(hào)】：J905
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本文編號(hào)：2450173