可量化的电影史?--格里菲斯与计量电影学  

Film History?Cinemetrics Looks at Griffith,Griffith Looks at Cinemetrics

作　　者：迈克•巴克斯特 达莉亚•科特洛娃 尤里•齐维安 罗显勇(译)[4] Mike Baxter;Daria Khitrova;Yuri Tsivian;Luo Xianyong(Department of Statistical Archaeology,Nottingham Trent University,Nottingham,UK;Department of Slavic Language and Literature,Harvard University,Cambridge,USA;Department of Film and Media studies&Department of Art History,University of Chicago,Chicago,USA;Meishi Film Academy,Chongqing University,Chongqing 400044,China)

机构地区：[1]诺丁汉特伦特大学统计考古学系,英国诺丁汉 [2]哈佛大学斯拉夫语言文学系,美国剑桥 [3]芝加哥大学电影与媒介研究系与艺术史系,美国芝加哥 [4]重庆大学美视电影学院,重庆400044

出　　处：《贵州大学学报（艺术版）》2021年第3期38-50,共13页Journal of Guizhou University Art Edition

基　　金：上海文化创意产教融合引领项目“基于VR影视片场的导演实训体系的开发与应用”(项目编号:沪教委高〔2020〕54号)。

摘　　要：本文所要探讨的问题是关于剪辑的历史,特别要探讨的是格里菲斯的文章《电影中的节奏》(1926)所引发的争议。在这篇文章中,格里菲斯提出,电影中的具体场景应该根据导演心目中的具体镜头长度来进行剪辑。格里菲斯坚持认为,在一部模式化的影片中,镜头之间的剪辑频率必须是一个波浪式起伏不定的频率,并且这个贯穿了整部影片时长的“完美波型曲线”应成为他的“剪辑准则”。格里菲斯建立在其导演和剪辑经验上的“后分析”(post-analysis)在当今的电影史学家中引起了不小的争议。一些电影史学家把格里菲斯的“后分析”作为“电影风格的计量分析”的理论支撑,而另一些史学家则质疑:上述观念是否就是格里菲斯的观念?如果我们认定是格里菲斯的观念的话,那么,它是否就是格里菲斯真正所要表达的观念?The field of study we visit in this article is the history of editing.Specifically,we look at D.W.Griffith’s essay“Pace in the Movies”(1926)which says that specific scenes in films must be edited with specific shot lengths in mind.In a model movie cuts between shots must come with a wavelike frequency,Griffith insists,and offers his recipe as to the perfect wave curve within the duration of the film.Griffith’s post-analysis based on his experience as a director and editor has caused a controversy among modern-day film historians.Some use it as an argument in favor of numeric approaches to film style;others doubt whether it was Griffith who authored this idea,and if it was,whether Griffith meant what he meant.

关 键 词：D.W.格里菲斯 计量电影学 电影史 镜头长度 剪辑模式 

分 类 号：J903[艺术—电影电视艺术]