论色彩象征性与非象征性的融合——以影片《放大》为例  

On the Combination of Color Symbolism and Non-Symbolism:Taking the Film Blow-Up as an Example

作　　者：颜胤盛[1] 晚月 

机构地区：[1]湖南工业大学音乐学院,湖南株洲412007

出　　处：《湖南工业大学学报（社会科学版）》2018年第1期105-108,共4页Journal of Hunan University of Technology(Social Science Edition)

摘　　要：在电影中,色彩象征性的运用可建构电影色彩表意功能符号,色彩非象征性的运用能凸显电影艺术家的色彩思维,而一旦色彩象征性与非象征性相融合,就会表现出以下两个方面效果:一是实现电影色彩的二维匹配(侧重于象征性),二是实现电影色彩的三维空间立体建构(侧重于非象征性)。安东尼奥尼的电影《放大》是色彩象征性与非象征性融合的典范,以独特的电影色彩思维为其后电影从业者提供了参考的蓝本。In film industry,the application of symbolism of color can construct the film color ideographic function symbols,while using the non-symbolism of color can highlight the color thinking of film artists. The combination of the symbolism and non-symbolism shows the following two aspects of the effect： one is to achieve the twodimensional color matching（ focus on symbolism）; the second is to realize the three-dimensional construction of film color（ emphasis on non-symbolic）. Blow-Up by Antonioni is a masterpiece of the combination of symbolism and non-symbolism in color application,and his unique mindset of sensing and using color provides excellent reference to his successors.

关 键 词：《放大》 电影色彩 色彩的象征性 色彩的非象征性 

分 类 号：J905[艺术—电影电视艺术]