“构图”与“取景”:从绘画到电影  

"Composition"and"Framing":From Painting to Film

作　　者：宋杰[1] Song Jie

机构地区：[1]云南艺术学院

出　　处：《云南艺术学院学报》2024年第2期70-80,共11页

摘　　要：源于绘画的概念“构图”,一直被视觉艺术沿用至今。但很少有人去思考这一古老概念的近当代意义。事实上,在近当代新兴的涉及视觉的艺术形式或媒介中,继续沿用“构图”常常会阻碍使用者对新兴艺术形式或媒介本体及其语言的思考与创新。在电影中,传统的画框已经被景框取代。景框不仅意味着框内的视觉内容与框外的物质世界有着紧密的联系,同时电影的纪录本性及其运动特征也颠覆了传统构图的基本原则。因此,电影中只有取景,没有构图。从“构图”到“取景”,不仅是概念的变更,更是电影认识自我和观念革命的必然。The concept of"composition",which originated in painting,has been used in visual arts up to the present day.However,little thought has been given to the contemporary significance of this ancient concept.In fact,in modern and contemporary visual art forms or media,the continued use of"composition"often prevents users from thinking and innovating on the new art form or medium and its language.In cinema,the traditional picture frame has been replaced by the view frame.The frame not only implies that the visual content inside the frame is closely related to the material world outside the frame,but also that the nature of documentation of films and its movement characteristics have subverted the basic principles of traditional composition.Therefore,there is only framing in films,not composition!From"composition"to"framing"is not only a change of concept,but also an inevitable self-understanding and the revolution of the conception of films.

关 键 词：绘画 构图 画框 摄影 景框 电影 取景 

分 类 号：J904[艺术—电影电视艺术]