论文标题:张艺谋电影：“两极”美学现象与“极致”导演思维
Analyses on Mr.Zhang Yimou"s Movies--About the "Two-pole" Aesthetic Phenomenon and the "Extreme" Director"s Thinking
论文作者 罗勤
论文导师 彭立,论文学位 硕士,论文专业 美学
论文单位 四川师范大学,点击次数 204,论文页数 70页File Size502k
2005-04-01论文网 http://www.lw23.com/lunwen_15770257/ 两极; 极致; 表意; 纪实
two-pole; extreme; ideography; documentation
这是一篇关于张艺谋电影“两极”美学现象和“极致”导演思维的研究,是从张艺谋个人独特的“极致”导演思维出发,把他的电影作品——从1983年的处女作《红高梁》一直到2002 年的《英雄》——分为表意和纪实两极,作了一次宏观全面的梳理,分析其中包含的美学内蕴,并探究这种“两极”美学现象和“极致”导演思维产生的根源。本文研究的最大创新点在于从张艺谋题材不同、拍摄手法各异的十多部影片当中,抓住了“两极”美学现象和“极致”导演思维这根红线,无论他的影片如何变化,从电影的基本元素空间、色彩、声音造型来看,他都是运用了“极致”的导演思维,把这些元素推向表意和纪实这两极各自可能的最极端,构成具有个人独特魅力的电影世界。最后本文在研究张艺谋具体影片的基础上,进一步追根溯源,从张艺谋个人性格、创作经验以及其它导演和社会整体环境对他的影响等四个方面,探讨这种“两极”美学现象和“极致”导演思维产生的根源,以期总结张艺谋的电影创作经验,把这种“极致”的导演思维带进中国电影界,促进中国电影更好地向前发展。本文共分五章: 第一章:“绪论”。简要陈述了本研究课题的研究现状、研究目的和意义,以及本文对“两极”和“极致”范畴的界定。第二章:“两极”美学现象之“表意”一极及其美学内蕴。主要从空间造型、色彩造型和声音造型三个方面,结合最具表意风格的《红高粱》、《菊豆》、《大红灯笼高高挂》、《我的父亲母亲》、《英雄》等几部影片,分析了张艺谋如何使
The thesis elaborates on the “two-pole”aesthetic phenomenon and the “extreme”director’s thinking, which are embodied in Mr. Zhang Yimou’s Movies. Having made a general study of his movies over the years, from his first work THE RED CHINESE SORGHUM in 1983 to the latest movie HERO in 2002, which are grouped into “ideography”and “documentation”, the thesis dissects the anesthetic ideas contained in those movies and further excavates the roots of the “two-pole”aesthetic phenomenon and the “extreme”director’s thinking. The thesis highlights the “two-pole”anesthetic phenomenon and the “extreme”director’s thinking; however Mr.Zhang’s movies vary and change. From perspectives of the movies’basic elements like space, color and sound effect, Mr. Zhang uses the “extreme”director’s thinking, which means that he makes those basic elements work towards the limits of both “ideography”and “documentation”, so as to create his unique movie field. More over, the thesis explores the roots of the “two-pole”aesthetic phenomenon and the “extreme”director’s thinking through analyses of Mr. Zhang Yimou’s personalities, experiences, and influences from other directors as well as the overall social environment, so as to reach a conclusion of his movie creation, and thus further prompt the onward development of Chinese movies. There are 5 chapters in this thesis. Chapter 1 is the introduction, which briefly states the current research, purpose and outlook of the subject being studied, and explains the concept definitions employed by the author. Chapter 2 explains the “ideography”in the “two-pole”aesthetic phenomenon. From perspectives of space, color and sound formation together with his movie representatives (THE RED CHINESE SORGHUM, JUDOU, RAISE THE RED LANTERN, THE ROAD HOME as well as HERO), it dissects how Mr. Zhang makes his movies work towards the limit of “ideography”, as well as its related aesthetic effects. Chapter 3 talks about the “documentation”in the “two-pole”aesthetic phenomenon, with two movies as example (THE STORY OF QIUJU and NOT ONE LESS). From perspectives of outward & inward shapes and ways of expression, it dissects how Mr. Zhang makes his movies work towards the limit of “documentation”, as well as its related aesthetic effects. Chapter 4 makes an anatomy on the “two-pole”aesthetic phenomenon and the “extreme”director’s thinking through analyses of Mr. Zhang Yimou’s personalities, experiences, and influences from other directors as well as the overall social environment. Chapter 5 is the conclusion, which brings the whole research to a natural conclusion, and at the mean time, makes a bold forcast of his movies" future.
|
