画家画中的色调,不是冷冰冰的客观记录,而是画家感情的表达——画家与物象及其色调的主客观统一的产物。作为“色调的语言”,也只有能做到表达作者情绪和感情时,才具有艺术价值. 而色调的“纵比”——前后的对比,往往是一幅画所难以展示的。但在电影修辞学中,运用色调的“纵比”来揭示人物的情绪和感情的流程,却是常见的事. 请看那几乎每一个镜头都象一幅油画的英国故事片《简·爱》的色彩,是多么的浑厚,意境是何等的深远。简爱——孤苦的少女,生活在一个失去母爱的环境中,周围是十分冷漠的,所以影片对她活动的描绘,也选择了一种沉着含蓄的色彩:深褐,深蓝、淡灰、墨绿,加以偏蓝的冷色光,使之 The hue in painter’s paintings is not an objective record of coldness, but an expression of painter’s feelings - the product of the subjective and objective harmony between the artist and the object and its hue. As the “tone of language”, it is of artistic value only if it expresses the emotion and emotion of the author, while the “contrast” of the tone - the contrast between before and after, is often difficult to show by a painting. But in the film rhetoric, it is not uncommon to use the “aspect ratio” of the hue to reveal the emotional and emotional flow of people. Look at Jane’s Love, a British feature film that almost always looks like a painting, The color, is how vigorous, artistic conception is so far-reaching. Jane Eyre - Lonely girl, living in an environment of loss of maternal love, surrounded by very indifferent, so the film depicting her activities, but also chose a calm and subtle colors: dark brown, dark blue, light gray, dark green , To be partial blue cold light, make it