视觉的想象与影像的真实——与廖拟谈《万里归途》的摄影创作  

Visual Imagination and the Authenticity of Image:A Conversation on Liao Ni with the Photography Creation of Home Coming

作　　者：程樯 李旭 Cheng Qiang;Li Xu

机构地区：[1]北京电影学院视听传媒学院

出　　处：《电影艺术》2022年第6期122-126,共5页Film Art

基　　金：2021年度国家社会科学基金艺术学项目“媒介融合时代现实题材电视剧高质量发展研究”(批准号:21BC039)阶段性成果。

摘　　要：廖拟富于想象力的摄影创作为《万里归途》提供了审美体验的临场感与沉浸感。“异国感”的表征与传达是影片营造视觉真实的着力点,而用镜头建构叙事张力、在光影与构图中塑造人物则是影片形塑独特影像表意系统的要素。“异国感”的塑造建立在黄白色调与粗粝质感之上,真实的“异国感”无疑是美的真实,是在时空真实的局限中创造无限的审美真实,而这一诉求在某种意义上也成为该片的摄影主基调,形成临场感与沉浸感共生相融的影像体验。The imagination and authenticity of Liao Ni’s photography creation have laid a sense of presence and immersion of aesthetic experience for Home Coming.The representation and transmission of“exoticism”is the focus of the film to create visual reality,while the construction of narrative tension by lens and the shaping of characters in light,shadow and composition are the elements of the film’s unique image ideographic system.The shaping of“exoticism”is based on the yellow and white tones and rough texture.The true“exoticism”is undoubtedly the truth of beauty,and it is the creation of infinite aesthetic reality in the limitation of space-time reality.This appeal has also become the main tone of the film’s photography in a sense,forming a symbiotic image experience of presence and immersion.

关 键 词：《万里归途》 廖拟 摄影创作 异国感 想象力 真实性 

分 类 号：J931[艺术—电影电视艺术]