《千里走单骑》中的景观表现传统  

Landscape and Topography in Riding Alone for Thousands of Miles

作　　者：劳伦斯.西蒙斯 刘咏 Laurence Simmons;Liu Yong(Faculty of Arts, University of Auckland,Auckland 6011, New Zealand;Faculty of Arts and Social Sciences, University of Brunei Darussalan, Brunei)

机构地区：[1]奥克兰大学艺术学院 [2]达鲁萨兰大学艺术与社会科学学院

出　　处：《上海大学学报（社会科学版）》2018年第3期10-20,共11页Journal of Shanghai University(Social Sciences Edition)

摘　　要：电影叙事和景观呈现有着千丝万缕的联系。一般情况下,电影中的景观呈现都会被边缘化,仅仅作为背景用来营造故事或场景氛围,因此没有一种电影类型像绘画那样被称为景观片。影片对景观的描写可以超越传统背景的意义,具有前景效果,成为阐述民族文化特征的一个有效手段。以当代西方电影理论和传统东方山水绘画原理为理论背景,分析景观扮演前景角色的七种不同形态:形式元素,情绪描写,人物塑造,故事讲述,多点视角,意识形态以及历史关联。Film narration and presentation of landscapes are closely interconnected. In general cases,landscapes are present in many films but their presence is marginal. Essentially,landscape in film is an atmosphere for a story,a setting for action,there,but always ＂in the background＂. There is no film genre called＂landscape film＂as in painting. In contrast,this paper argues that landscape and topography has more than mere background significance in Zhang Yimou＇s Riding Alone and that it functions as a＂foreground＂andan effective means of demonstrating national cultural characters. By combining western cinematic theories with traditional oriental landscape painting theories,the paper addresses seven different forms of the ＂foreground＂role played by landscape： formal elements,emotional description,characterization,storytelling,multiple perspectives,ideology,and historical relevance.

关 键 词：中国山水画 视角与景观 空间意识 跨文化意象 

分 类 号：J912[艺术—电影电视艺术]