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从1.33:1到1.85:1、再到2.35:1,这是电影史上银幕画幅主流比例的变化。屏幕越宽,给人的视角越开阔,就越能呈现更多细节和内容,越能在银幕上制造视觉奇观(1)。在此语境下,视觉奇观带来的冲击力似乎成为了商业电影创作的主要方向。而2016年下半年上映的电影《我不是潘金莲》却以其反传统的画幅在美学上颇具争议。影片由韩忠老师担任美术指导,反传统的画幅不仅仅是画框边界形状的改变,而是整个电影逻辑和语言的变化。承担电影造型设计与制作的部门——电影美术设计,也随着影片的美学与形式的变化进行破旧立新。本文从影片色彩、场景空间和人物造型入手,分析电影《我不是潘金莲》美术设计。
From 1.33: 1 to 1.85: 1, to 2.35: 1, this is a change in the mainstream proportions of the screen shots in the film’s history. The wider the screen, the wider the viewing angle. The more detail and content can be presented, the more visual wonders can be created on the screen (1). In this context, the impact of visual wonders seems to be the main direction of commercial film creation. In the second half of 2016, the film “I am not Pan Jinlian” is aesthetically controversial in its anti-traditional format. The film is directed by Han Chung as an art director. The anti-traditional frame is not just a change in the shape of the border of the picture frame, but a change in the entire film logic and language. Take the movie design and production of the design department - the art of film design, but also with the changes in the film’s aesthetics and form the old and new. This article starts from the film color, the scene space and the character modeling, analyzes the movie “I am not Pan Jinlian” art design.