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本文以卜万苍1931年的影片《一剪梅》为例,通过文本细读讨论后无声时期(1931年-1938年有声片与无声片并存的时期)的影片如何通过一系列的过度:夸张的布景设计、哑剧、图像中的文字等来补偿影片自知自觉的喑哑,同时分析了在该影片中作为无声片灵魂的图像、尚未来临的声音和作为二者中介的文字如何相互竞争、融合、伪装和转化。
This paper takes Bu Wancang’s 1931 film “Yi Jian Mei” as an example. After a series of over-exaggerated scenes through the textual discussion of the silent period after the discussion (the period between the soundtrack and the silent film from 1931 to 1938) Design, pantomime, text in images, etc. to compensate for the film’s self-aware self-awareness and dumbness. Meanwhile, it analyzes the images that are the soul of the silent film in the film, how the voices that have not yet come and how the texts as the two mediate compete with each other, And conversion.