戏曲文化背景中的中国电影--以张艺谋的《影》为例  

Chinese Movies in the Cultural Background of Chinese Opera:Take the Film Shadow as a Precedent

作　　者：杜冬颖[1,2] DU Dong-ying(Shanghai Normal University,Shanghai 200234;Shanghai Theatre Academy,Shanghai 200040)

机构地区：[1]上海师范大学影视传媒学院,上海200234 [2]上海戏剧学院戏剧文学系,上海200040

出　　处：《艺术百家》2020年第2期152-157,共6页Hundred Schools In Arts

基　　金：2019年度国家社会科学基金艺术学重大项目“中国电影表演美学思潮史”(项目编号:19ZD11)阶段性成果之一

摘　　要：在全球化的时代大背景下,我们在感受各国文化大交融的同时,也对电影整体日益趋同的现况深感忧虑。要想拍摄出能够体现东方艺术美学精神的中国电影,以民族文化的魅力在世界影坛占有一席之地,不得不依靠文化特色和民族风格。东方民族的文化精神情态在影像透视中是独特而优雅的,镜头语言的深沉含蓄、影像风格的舒缓内敛等都彰显了区别于西方文化的独特风格和神韵。传统戏曲一直是民族美学的重要组成部分,体现着独特的美学观念,也是中国电影内涵的深刻来源。笔者试图从电影《影》的景观特点和电影对戏曲美学的借鉴入手,努力探索具有"中国气质"的电影的审美范式和特征。In the big background of the globalization era,we feel the great cultural combination of different countries,but also we are deeply worried about the current situation of the whole film which is becoming more and more convergence. How to build Chinese film which is different from the Western film,can embody the spirit of Oriental Art Aesthetics,and takes a place in the world film with the dignity and charm of national culture. which has to be supported by cultural characteristics and national styles. The cultural spirit of the Eastern nation is unique and elegant in the perspective of image,the lens language is deep and implicative,and the image style is gentle and reserved. All highlight the unique style and romantic charm that are different from the Western culture. Chinese traditional opera has always been an important part of Chinese national aesthetics,which is embodying unique aesthetic concepts,and also a profound source of the connotation of Chinese films. The author’s idea attempts to start with the landscape characteristics of the film Shadow and the reference of the drama aesthetics,and strive to explore the paradigm and characteristics of films with " Chinese temperament".

关 键 词：中国电影 传统戏曲 电影景观 东方美学 

分 类 号：J90[艺术—电影电视艺术]