计量电影学视角下《一江春水向东流》与《八千里路云和月》美学风格之比较  

A comparative analysis of the aesthetic styles between The Spring River Flows East and Eight Thousand Li of Cloud and Moon from the perspective of cinemetrics

作　　者：乔洁琼 夏凡 QIAO Jie-qiong;XIA Fan(School of Communication,Qingdao University of Science and Technology,Qingdao 266061,China)

机构地区：[1]青岛科技大学传媒学院,山东青岛266061

出　　处：《青岛科技大学学报（社会科学版）》2024年第3期87-93,共7页Journal of Qingdao University of Science and Technology(Social Sciences)

基　　金：国家社科基金艺术学一般项目(24BC064);国家社科基金艺术学一般项目(23BC039)。

摘　　要：基于计量电影学方法对《一江春水向东流》和《八千里路云和月》进行考察,找出两部史诗巨著影像风格的差异。从电影节奏上来看,《八千里路云和月》整体慢于《一江春水向东流》。史东山更重视电影单个镜头内部的蒙太奇结构,表现为长镜头的复杂和丰富;蔡楚生更重视蒙太奇的作用,通过对比、隐喻、积累等方式增强影像的戏剧性和冲突性。二人都重视电影与观众的关系,史东山作品的形式本身常常蕴含冲突的观念,蔡楚生则通过戏剧式结构和影像表达以适应普通民众的欣赏习惯。This study examines the difference in image styles between the two epic masterpieces,The Spring River Flows East and Eight Thousand Li of Cloud and Moon based on the analysis of cinemtrics.In term of the rhythm,the latter is overall slower than the former.Director Shi Dongshan places more emphasis on the montage structure within a single shot of a movie,manifested as the complexity and richness of long shoots while director Cai Chusheng focuses more on the role of montage,enhancing the dramatic and conflicting nature of the image through comparison,metaphor,accumulation,and other means.Both of them attach importance to the relationship between movies and audiences.The form of Shi Dongshan’s works often contains conflicting ideas,while Cai Chusheng adapts to audience’s appreciation habits through dramatic structures and visual expressions.

关 键 词：计量电影学 《一江春水向东流》 《八千里路云和月》 

分 类 号：J90[艺术—电影电视艺术]