从舞台到银幕:样板戏电影的意义增值及其影像模式的形成  

From the Stage to the Screen:Model Opera Movie's Increased Meaning and the Formation of Its Image Mode

作　　者：穆海亮[1] 

机构地区：[1]河南大学文学院,河南开封475001

出　　处：《新疆艺术学院学报》2017年第1期99-104,共6页Journal of Xinjiang Arts University

基　　金：国家社科基金重大招标课题"期刊史料与20世纪中国文学史"(11&ZD110)阶段性成果

摘　　要：样板戏电影的拍摄目的主要是为了宣传样板戏,其对样板戏的传播效用确实是超乎寻常的,在传播过程中发生的意义增值同样颇有意味。为了实现"还原舞台,高于舞台"的审美理想,"三突出"原则在样板戏电影中得到更彻底的落实,由此决定的拍摄技法及影片风格,形成了极端化的影像模式。不过,"还原舞台,高于舞台"终究以"还原"为主,从戏剧到电影的形式迁移并未充分激发电影艺术的优势,样板戏电影的艺术价值因此而几乎泯灭殆尽。The main purpose of filming the model opera movie is to promote the model opera. The spread of the effect of the model opera is indeed extraordinary, and the meaning increased in the process of communication is also quite meaningful. In order to achieve the aesthetic ideal of ＂restoring the stage, higher than the stage＂, ＂Three Emphasis＂ principle is more thoroughly implemented in the model opera movie, which determines the filming techniques and movie style, forming an extreme image mode. However, the ＂restoring the stage＂ is more important than the ＂higher than the stage＂ after all. The form change from opera to the movie does not fully stimulate the advantages of movie art, so the artistic value of the model opera movie is almost all disappeared.

关 键 词：样板戏电影意义增值“还原舞台 高于舞台”“三突出” 

分 类 号：J905[艺术—电影电视艺术]