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作为韩国电影导演中的异数金基德,创作了一大批优秀的电影作品如《春夏秋冬又一春》、《雏妓》、《坏小子》、《漂流欲室》等,在电影中运用富含意蕴的长镜头、黑灰色调、丰富的镜头隐喻传达出金基德导演对社会边缘人始终如一的关注与同情。把金基德的电影放在影像修辞视角下,通过剖析金基德电影中的技术手法,通过镜头的对比修辞、色彩的偏重修辞、画面的喻意修辞等方面探寻其电影中欲望与救赎的主题内涵。本文从金基德电影中的基本修辞艺术特色的聚焦表达入手,通过单一镜头的直观表达与组合镜头的极致呈现聚焦边缘人物内心的情感抒发,从而总结出如何通过镜头的调动与艺术层面的展现深刻传达出导演的电影情怀。其电影中传达出的浪漫主义情怀与寓言性质的故事主体,主要就是通过具体的意象传达出来的。同时,这些意象构建能够体现出欲望与救赎的主题。通过研究电影修辞,一方面提高观众的审美能力,另一方面能够创作出更多既“叫好”又“叫座”的好电影,给我国正在转型的电影市场提供一定的借鉴意义。
Kim Ki-teh, a Korean film director, has created a large number of excellent films such as “Spring, Summer, Autumn, Winter and Spring”, “Child prostitutes”, “Bad Boy” and “ Meaning of the long shots, dark gray tone, rich lens metaphor conveyed Kim Ki-director on the margins of the community consistent concern and sympathy. Jin Ki - de ’s film is put forward in the perspective of image rhetoric, and its theme of desire and redemption is explored through the analysis of the techniques in Jin Kid movies, through contrasting rhetoric of the lens, biased rhetoric of color and metaphorical rhetoric of the picture. This article starts from the focus expression of the basic rhetorical art features in Jin Jide films. Through the direct expression of the single lens and the extreme expression of the combined lens, the thesis focuses on the expression of emotion in the innermost edge of the film, and concludes how to profoundly convey through the transfer of the lens and the artistic expression Out of the director’s movie feelings. The main story of romantic storytelling and parable in the film is mainly conveyed through concrete images. At the same time, these images build on the theme of desire and redemption. By studying movie rhetoric, on the one hand, it can improve the audience’s aesthetic ability; on the other hand, it can create more good movies which are not only ”good“ but also ”good name", providing some reference to our country’s transitioning film market.