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以中国电影史上电影与京剧的渊源为前提,将舞台作为创作思路的起点,再将舞台装置到摄影棚,以表达其电影的专属性。在实际的设计中升华场景的能指意义,以牌坊为设计因子强化整部电影的精神功能;用京剧中脸谱的戏曲思维归纳色彩预设,将戏曲假定性欣赏经验植入留白的设计表现,更以白屏的运用展现“影戏”的文化基因。本文以电影《廉吏于成龙》美术设计的回顾和体会,在戏曲电影中美术设计理念的更新方面做了有益的尝试。
Based on the origin of movies and Peking Opera in the history of Chinese cinema, the stage is taken as the starting point for creative thinking and the stage is then set in the studio to express the film’s uniqueness. In the actual design of the sublimation scene means the meaning to the arch for the design factor to strengthen the spiritual function of the whole movie; with Peking opera in the drama of the thought of inducting color preset, premeditated opera drama experience implanted in the blank design performance , But also to show the use of white screen “movie ” cultural genes. Based on the review and experience of the art design of “Lian Li Yu Lianlong”, this article makes a useful attempt to update the concept of art design in opera films.