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这篇文章可以在两个层次上来阅读:一,作为电影实践的方法论,它是一篇关于“黑色电影”不可多得的技巧总结;二、作为电影批评的方法论,它是一篇运用“场面调度”批评方法分析电影的精彩范例。关于前者,文章已阐述得十分详细,这里就不多费笔墨。关于后者,则稍作一点说明。根据美国电影理论家比尔·尼柯尔斯的观点,电影批评可分为背景批评和形式批评两大类,而形式批评中又有作者批评、场面调度批评和形式分析等等。《“黑色电影”的某些视觉主题》一文即是属于形式批评方法中的“场面调度”批评。这种批评方法与作者枇评和形式分析两者既有联系、又有区别:和作者论相比,它更少考虑去揭示一位导演的个性;和严格的形式分析相比,它又更多地考虑在视觉的形式感(构图、用光、组织)和视觉的传达惑(姿态、动作、摄影机运动)中的主题模式和意义。形式分析的起点是在先于意义的感知现象学中,而作者论则开始于对有机整体和艺术家个性的罗曼蒂克美学考虑。更进一步说,场面调度批评是处于爱森坦和巴赞理论的边缘地带,正象汉德逊在《长镜头》一文中所指出的:场面调度批评更多地考虑的是单个镜头的风格或表达质量(经常是、但不永远是长镜头),它和巴赞把长镜头作为一种透明的现实主义意义——因为它的时间的和结构的外延,而不是它的表达的可能性——来感知相反;并明显地区别于爱森斯坦把所有的表达范畴都集合在蒙太奇——镜头和镜头或元素和元素之间的关系——这一把大伞之下的做法。尼柯尔斯则指出:场面调度批评作出了一种新的可能,并显示出它可以如何得到完全不同于那些较早年代的、居支配地位的情节中心论者和社会问题论者的历史学家们的结论。本文选自尼柯尔斯编的《电影与方法》第一卷(1976年版)。尼柯尔斯在此文前有一个按语,因其对了解这篇文章提供了一个新角度,所以也一起译出,供参考。
This article can be read on two levels: First, as a methodology for film practice, it is a rare technical summary of the “black film.” Second, as a methodology for film criticism, it is an application of “ Dispatch ”a critical example to analyze the movie’s wonderful example. With regard to the former, the article has been elaborated in great detail. About the latter, a little explanation. According to the opinion of American film theorist Bill Nichols, film criticism can be divided into two categories: background criticism and formal criticism, and there are author criticism, criticism and formal analysis of the scene dispatch and so on. Some of the “visual themes” of “black movies” fall under the criticism of “scene scheduling” in formal criticism. This method of criticism is both connected and differentiated from the author’s assessment and formal analysis: it seldom considers the personality of a director in comparison with the author’s theory; it is more than the strict formal analysis Consider more the theme patterns and meanings in the visual sense of form (composition, use, organization) and visual communication (gesture, action, camera movement). The starting point of formal analysis is in the sense-percept phenomenology, while the author’s theory begins with the romantic aesthetic considerations of the organic whole and the artist’s individuality. Furthermore, the criticism of the scene scheduling is on the verge of the theory of Eisenham and Bazin, as Henderson pointed out in the article “Long Shot”: the scene scheduling criticism more considers the style of a single shot or The quality of expression (often, but not always, long shots), and Bazin’s long shot as a seemingly transparent realism - because of its temporal and structural extension, rather than its likelihood of expression - - to sense the opposite; and distinctly different from Eisenstein’s collection of all categories of expression in montage - the relationship between shots and lenses or elements and elements - a practice under the umbrella. Nichols points out that the critique of the scene dispatch makes a new possibility and shows how it can be completely different from the historians of those dominant dynastic theorists and social theorists The conclusion of the family. This article is from the first volume of Film and Methods by Nichols (1976). Nichols has a preface to this article, because it provides a new perspective on the understanding of this article, it is also translated together for reference.