当“特写”进入中国:中国早期电影景别观念的嬗变  

When Close-ups Enter China:The Evolution of Shot Size Concepts in Early Chinese Cinema

作　　者：李镇[1] Li Zhen

机构地区：[1]中国电影艺术研究中心

出　　处：《电影艺术》2024年第4期123-131,共9页Film Art

摘　　要：自20世纪20年代起,特写镜头曾作为方法和观念被引进,近景系统继而一度流行,随后被质疑。它与远景系统和中景系统随着时代的需要此消彼长,最终稳定在以中景为主的景别倾向中,呼应着华夏“中和”美学的要求。景别倾向的历时性变化和共时性关系,映现出近现代中国现代化进程中的精神境遇和文化快择。华夏礼乐文明在景别系统的演变中表现出现代适应性,并产生了决定性影响。Since the 1920s,close-up shots were introduced as both a technique and concept,and the close-up system then became popular for a period before facing scrutiny.It has interacted dynamically with the long shot and medium shot systems,fluctuating in prominence in response to the era's demands,and eventually settling into a preference for medium shots,echoing the requirements of the Chinese concept,the beauty of neutrality.The historical changes and contemporary relationships of shot size preferences reflect the psychological landscapes and cultural choices within the modernization process of modern China.The Chinese civilization of rites and music has demonstrated modern adaptability through the evolution of the shot size system,exerting a decisive influence.

关 键 词：特写 景别 中国电影 儒家文化 中和 

分 类 号：J909.2[艺术—电影电视艺术]