塔尔可夫斯基电影场面调度的空间叙事——以影片《潜行者》为例  

The Spatial Narration of Mise-en-Scene in Tarkovsky's Flims——Take Stalker as an example

作　　者：峻冰[1] 高娜[1] JUN Bing GAO Na(College of Literature ＆ Journalism, Sichuan University, Chengdu 610064, China)

机构地区：[1]四川大学文学与新闻学院,四川成都610064

出　　处：《西南交通大学学报（社会科学版）》2017年第5期35-40,共6页Journal of Southwest Jiaotong University(Social Sciences)

摘　　要：安德烈·塔尔可夫斯基以其电影独特的"诗性推理"闻名于世,他将苏联时期"诗电影"的艺术性提升至新的高度,尤其体现在电影场面调度的行云流水般的诗性镜语上。在其代表作《潜行者》中,充满诗意且富有个性色彩的场面调度(尤其是空间调度)比比皆是,它们基于导演电影观念,从演员调度、演员与摄影机之间的调度、空间感的营造、空间象征等方面共同彰显了影片场面调度中空间叙事的审美魅力。Andrei Tarkovsky is known for his unique ＂poetic reasoning＂ films in the world. He promotes the Soviet ＂poem film＂ artistic quality to a new level, especially in the aspect of the poetic lens language in the film mise-en-scene. His masterpiece Stalker is full of poetic and individualized mise-en- scene （especially space scheduling）. They are based on the director＇s film concept to highlight aesthetic charm of the spatial narration from different perspectives such as actors scheduling, actors-camera scheduling, creation of space sense and space symbol etc.

关 键 词：安德烈·塔尔可夫斯基 《潜行者》 场面调度 空间叙事 

分 类 号：J905[艺术—电影电视艺术]