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各门艺术都有迥异于其它艺术的独特个性,文学运用语言,绘画运用线条和色彩,舞蹈运用身段,音乐运用旋律,建筑与雕塑运用块料。由于质的规定性不同,才使这一事物与另一事物严格地区别开来。电影艺术的特性是什么呢? 这个问题历来电影艺术家、理论家争论得喋喋不休,其中有代表性的如匈牙利电影理论家巴拉兹,他认为:电影首先突破了戏剧的三原则:1.观众始终看舞台全景;2.观众的视距不变;3.观众的视角不变。电影则把完整的场面分割成几个镜头,在同一场景中改变观众视距和角度,使场面和构图都发生变化。他还说:“电影艺术的全新表现方法所描绘的不再是海上的飓风或火山的爆发,而可能是从人的跟角里慢慢流出的一滴寂寞的眼泪。”(《电影美学》第18—19页)这就是说电影在艺术家手中,不仅展示画面,同时还解释画面,不仅表现宏观世界,还特别擅长披露“微观”世界。
Each art has a unique personality that is very different from other arts. Literary use of language, painting and use of lines and colors, dance figure, melody music, building and sculpture use block material. Because of the different nature of the provisions of the nature of this thing and the other things strictly separate. What are the characteristics of the art of cinema? This issue has historically been debated by film artists and theorists. Representatives such as the Hungarian film theorist Bázquez considered that the film broke through the three principles of drama first: 1. The audience always Watching the stage panorama; 2. The audience’s line of sight unchanged; 3. The audience’s perspective. The movie divides the complete scene into several shots, changing the viewing distance and angle of the audience in the same scene, so as to make the scene and the composition change. He added: “The new presentation of cinema art is no longer portraying a hurricane or volcano over the sea, but may be a lonely tear slowly flowing out of a person’s heel.” (“Aesthetics of Film” 18-19) This means that the film is in the hands of the artist, not only showing the picture, but also explaining the picture. It not only shows the macro world, but also specializes in disclosing the “micro” world.