编剧哲学:微电影的本体探寻及艺术化创作路径探索  

Screenwriting Philosophy:Exploration of Micro Film Ontology and Exploration of Artistic Creation Path

作　　者：罗慧林[1] LUO Hui-lin(School of Literature,Nanjing University,Nanjing,Jiangsu 210046)

机构地区：[1]南京大学文学院,江苏南京210046

出　　处：《艺术百家》2022年第5期126-134,共9页Hundred Schools In Arts

摘　　要：微电影是当下社会文化的重要表征,但整体而言存在粗制滥造的弊病。文章从时空哲学和编剧技法相融合的编剧哲学视角出发,探讨微电影微短时空的本体特性——时间和空间上的有限性。通过对情节反转(突破时间限制,实现时间层面拓展)或意象突围(突破空间限制,实现空间层面拓展)及其相关的镜像关系、虚境之无、悖反原则营造等艺术创新手法的剖析,文章探索各种增加微电影层次性的技巧,以突破微电影因时空受限而简单化的瓶颈,并将创作原则和案例借鉴相结合进行具体分析。创作者如果能在体悟并遵循微电影独特时空形式的艺术规律的基础上进行创作,就有可能突破其限制而寻找到独异的表达方式,获得独特的艺术效果。Micro film is an essential representation of the up-to-date social culture.However,the disadvantage is that its quantity is grand and its quality is low.From the perspective of scriptwriting philosophy,this essay combines the space-time philosophy and screenwriting techniques,discussing the ontological characteristics of micro film,that is,the finiteness of time and space.Through the plot reversal(breakthrough time restrictions to achieve the level of multilayered)or imagery(breakthrough space constraints to realize the space level of multilayered),as well as related artistic elements including the mirror relationship,illusory space and contrary principle,this paper explores various skills to solve the bottleneck of simplification,and combines the creative principle and case reference.In a word,if we can understand and follow the unique space-time law of micro films,it is possible to break through the limitation of its art form and obtain unique artistic effects.

关 键 词：微电影 时空哲学 微短 本体 层次性 虚境之无 

分 类 号：J90[艺术—电影电视艺术]