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长镜头的特点固然在于其纪实性强,比蒙太奇语言更接近于生活。但长镜头并非只是“纯客观”地照搬现实,它在以自身的语言形式反映社会生活,再现银幕形象的同时,同样包含着电影艺术独特的修辞技巧和编导的艺术风格。影片《复活》的长镜头正体现了编导的意境追求和独特风格。影片一开始,编导就用了一组长镜头来展示黑沉沉的监狱,纪实性的拍摄显现着对沙皇专制制度的愤怒控诉,尤其是镜头远远地盯着玛丝洛娃琐小的身影,从监狱巨大的窗孔俯拍过去,使画面包容了较丰富的暗示和象征意义。在这个长镜头中,编导力图运用缓慢的节奏加深其画面的
Of course, the characteristics of long shots lie in their strong documentary, language closer to life than the montage. However, the long shot does not merely copy the reality “purely objectively”. It reflects the social life in its own language form and reproduces the screen image. It also contains the unique rhetorical skills of film art and the art style of the director. The film “Resurrection” of the long lens is reflected in the director’s mood pursuit and unique style. At the beginning of the film, the director used a series of long shots to display the dark prison. Documentary filming showed anger over the tsarist autocracy. In particular, the lens was staring at Maslowova’s little figure from The prison huge window overlooking the past, so that the image contains a lot of rich implications and symbolic significance. In this long shot, the director tried to deepen his picture with a slow tempo