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2013年阿方索·卡隆执导的美国电影《地心引力》带给全球观众无以复加的视听快感,整个观影过程变成一场“景观狂欢”。这场视听盛宴丰富了电影本体美学,淡化了叙事,用技术手段满足观众与影片“零距离”接触的极致观影体验。《地心引力》将景观电影推向了巅峰,使其成为今后全世界电影制作的风向标。然而在狂欢的背后,我们不禁会思考:技术主义美学是否是电影美学的全部?电影叙事是否面临穷途末路?叙事与景观是否完全不可调和?本文拟就以上几点展开论述。
In 2013, Alfonso Caron directed the “gravity” of the U.S. film to bring the audiences worldwide the pleasure of seeing and hearing. The whole process of viewing became a “spectacular carnival.” This audio-visual feast enriched the aesthetics of cinema, played down the narrative, and used technical means to meet the ultimate viewing experience between the audience and film “Zero Distance”. “Gravity” to landscape film to the pinnacle of making it the future of the world movie production benchmark. However, behind the carnival, we can not help but think: Is techno-aesthetic aesthetics of film all? Does film narration face a dead end? Can narrative and landscape be totally irreconcilable? This article intends to discuss the above points.