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化装造型是一部影片的重要组成部分,影片中的人物一出场就能让观众认可、信服,这尤其需要化装师的一双妙手来定夺。这项“艺术手段”是如何经过化装造型师的手体现的呢?在先进的当代社会里,观念日新月异地变化,但万变不离其宗。最近,本刊记者就当前我国影视化装造型艺术中的一些观念问题走访了北京电影制片厂化装造型车间副主任、北影化装造型设计师徐广瑞先生。刚刚步入不惑之年的徐先生举手投足间具有一种天然而成的大家风范,他从事影视化装造型设计近二十年,曾主持过《秦颂》、《霸王别姬》、《风月》、《炮打双灯》等影片主要人物的化装造型设计,并在国内影视界享有很高的知名度。但盛名之下的徐先生却非常的谦逊,丝毫不摆名设计师
Make-up modeling is an important part of the film, the film’s characters will be able to make audience recognition, convinced, which in particular requires a pair of masters of the masquerade to decide. How did this “artistic method” be demonstrated by the masculine makeup stylist? In advanced modern society, the concepts are changing rapidly but constantly. Recently, our correspondents on the current concept of China’s film and television makeup design art visited the Beijing Film Studio dress styling workshop deputy director, designer Kitaharu Garment designer. Mr. Xu, who has just entered the age of perplexity, has a natural style of making gestures. He has been engaged in the design of film and television makeup for nearly 20 years and has presided over “Qin Song,” “Farewell My Concubine,” “FengYue” “Cannon hit double lights” and other major players in the movie dress design, and enjoy high visibility in the domestic film and television industry. However, under the famous Mr. Xu is very modest, did not put the designer