论文部分内容阅读
金天逸:鲍肖然老师,您的电影摄影如《沙鸥》等作品在当代中国电影摄影中具有重要的位置。在电影学院几十年的教学中您与您的同事们培养了一批又一批的摄影人材。请谈谈中国电影摄影的现状及其在世界电影摄影中所处的地位。鲍肖然:作为电影的一个最基本的构成元素,中国的电影摄影比起别的元素不仅成熟,从世界语言对话的角度看,它在相互之间的沟通、在水平的差异上比起其他元素来说是最小的。从文化积累及其背景来看,中国摄影师的文化底蕴更加雄厚。当然这儿有我们的很具体的条件。86年我曾与郑洞天一起带着各自的影片到美国互访了一次,在美国走了一圈。我没有看到美国的电影学院有专门的摄影系。
Jin Tianyi: Bao Xiaoran teacher, your movie photography such as “Gull” and other works in contemporary Chinese movie photography has an important position. After decades of teaching at the Academy of Film, you and your colleagues have trained a contingent of photographers. Please talk about the current situation of Chinese cinematography and its position in world cinematography. Bao Xiaoran: As a basic element of film, China’s film photography is not only mature than other elements, but from the point of view of the world language dialogue, its communication with each other is more horizontal than the other elements That is the smallest. In terms of cultural accumulation and its background, the cultural details of Chinese photographers are even stronger. Of course, here are our very specific conditions. In 86 years, I once went to the United States to visit each other with Zheng Dongtian and visited the United States once. I walked around in the United States. I did not see a special photography department at the American Film Institute.