韦斯·安德森电影空间的割裂性研究  

Research on the Fragmentation of Wes Anderson’s Film Space

作　　者：龚书卉 

机构地区：[1]兰州大学文学院,甘肃 兰州

出　　处：《艺术研究快报》2024年第3期143-148,共6页Art Research Letters

摘　　要：韦斯·安德森是美国著名作家导演,因为独具特色的艺术风格而引来诸多瞩目,研究者众多。本文将从空间的角度切入,将韦斯·安德森的电影分为客观空间和主观空间,以研究其空间内含的割裂性。客观空间从银幕内空间和银幕上空间入手,思考其物质空间的割裂性,主观空间从画内人心理和画外人心理入手,思考其心灵世界的割裂性。Wes Anderson is a famous American writer and director. Because of his unique artistic style, he has attracted a lot of attention and attracted many researchers. This article will start from the perspective of space and divide Wes Anderson’s movies into objective space and subjective space to study the fragmentation contained in its space. The objective space starts from the space inside the screen and the space on the screen to think about the fragmentation of its material space. The subjective space starts from the psychology of the person inside the picture and the psychology of the outsider to think about the fragmentation of the spiritual world.

关 键 词：韦斯·安德森 空间理论 电影空间 割裂性 

分 类 号：J90[艺术—电影电视艺术]