论文部分内容阅读
“作者电影”论是法国新浪潮电影的理论重心。它从理论上开启了电影创作的作者时代。法国新浪潮电影是一场开始于上世纪50年代末期并在1960年形成高潮的法国电影运动,它反思了法国的电影工业,倡导一种就题材内容与形式技巧影像实践方面的革新。彼时,一群团结在法国《电影手册》主编安德烈·巴赞周围的青年电影评论家反思法国电影史,主张法国电影实践的创新行动,呼吁一种在导演的个性灵感与想象控制下更具个人风格的电影实践。他们以“作者电影”论为自己的理论工具,积极开展电影产品的生产,代表作有弗朗索瓦·特吕弗的《四百下》、阿伦·雷乃的《广岛之恋》、戈
“Author movie ” theory is the theoretical center of the French new wave of movies. It theoretically opened the author’s era of film creation. The French New Wave is a French cinema movement that began in the late 1950s and culminated in 1960, reflecting the French film industry and advocating an innovation in the field of film content and formal techniques. At that time, a group of young film critics who were united around the French film handbook, André Bazan, rethought the history of French cinema and advocated innovative actions in French cinema practice. They called for a kind of film that was more controlled under the director’s personal inspiration and imagination With a personal style of movie practice. They take “author’s movie” as their own theoretical tool, and actively carry out the production of movie products. The representative works include “Four Hundreds of Talents” by Francois Truffaut, “The Love of Hiroshima” by Ray Allen, Ge