从电影《降临》看特效造型风格与美学意蕴  

The Study of Special Effects Styles and Aesthetic Implications——A Case of Film Arrival

作　　者：袁萱[1] 

机构地区：[1]北京印刷学院,北京102600

出　　处：《北京印刷学院学报》2017年第6期179-182,共4页Journal of Beijing Institute of Graphic Communication

基　　金：北京社科基金青年项目15WYC062<电影特效先锋设计研究>;北京印刷学院校内课题E6201516<数字特效造型语言及其美学思维>资助

摘　　要：电影特效作为科幻电影艺术表现的重要媒介,在电影叙事和视觉呈现上所占的比重越来越大,特效扩展了电影语言的可能性,在创作观念和视觉效果上更加凸显出不断丰富态势,也流露出其在风格表达和审美价值上的不同取向。本文以科幻电影《降临》为切入点,探究电影特效创作与现实的关系,随着电影特效的风格走向多元化,不同类型的特效体现了创作者审美认知上的差异化理解,论证隐性、显性特效造型风格以及其蕴含的美学意蕴。As an important medium for the performance of science fiction film art, special effect has large proportion in the narrative and visual presentation more and more. Special effects expand the possibility of film language, show the rich trend in the creation concept and visual effects, but also show the different orientations of style expression and aesthetic value. This paper explores the relationship between special effects creation in film and reality based on the science fiction film Arrival. With the style of film special effects diversifying, different types of special effects reflect the differentiated understanding of creator＇ s aesthetic cognition, demonstration of recessive and dominant styling style and aesthetic implication.

关 键 词：特效造型 东方美学 隐性特效 显性特效 

分 类 号：I106.3[文学—世界文学]