就影片《一一》论杨德昌长镜头理论下的写实风格.doc

PAGE 13摘 要台湾新电影明显受到了意大利新写实主义电影和后来的法国新浪潮电影风格影响，走的也是一种真实、自然、纯朴、再现的写实路线。电影呈现出以深焦摄影和长镜头运动为主的美学风格，大多运用散文化的情节结构和开放式结局，更接近日常生活的本来面貌，追求一种纪录式的真实感。杨德昌坚守着这种纪录式的写实风格，客观，生活化，不造作。他的电影中，基本避免运用大特写镜头，而是运用大量定镜拍摄、深焦摄影、长镜头等镜头语言，在电影中表达出了一种冰冻、冷漠的影像效果。《一一》是他真正意义上导演的最后一部电影。《一一》运用多维的叙事理念，通过对中产阶级的家庭琐事的描写来展现一个家庭内部的矛盾和生活，从而表现出台湾真实生活。本文通过对台湾新电影、长镜头以及杨德昌的成长创作经历的分析，围绕《一一》对杨德昌的写实风格进行了探讨和分析。关键词：杨德昌；长镜头；写实主义AbstractTaiwan New Film is influenced by Italian neo-realist film the new tide of French movies later, following in the footsteps of true, natural, simple, realism. The Film showing the aesthetic style is based on deep-focus photography and long lens movement, with prose story and open ending, closing to the daily life of the original appearance, pursuing of a record of realism. Edward Yang insists on a record of realism, objective, life-stylize, not artificial. His films use lots of Languages of Movie Lens such as fixed-focus photography, deep-focus photography, long lens etc, instead of extreme close-up.A one and a twois the last film he directed in true sense.A one and a two use multi-dimensional narrative concept, describing bourgeoisie household chores, showing contradictions and daily life of a family, expressing the true life in Taiwan. This article analyses the Edward Yang’s growth of creative experience, Taiwan New Film and long lens, approaching and anglicizing the realism of Edward Yang.Keywords: Edward Yang, long lens, realism目 录 TOC \o 1-3 \h \z \u HYPERLINK \l _Toc326345086 前言 PAGEREF _Toc326345086 \h 1 HYPERLINK \l _Toc326345087 一、台湾电影发展与台湾新电影运动 PAGEREF _Toc326345087 \h 1 HYPERLINK \l _Toc326345088 （一）八十年代前的台湾电影 PAGEREF _Toc326345088 \h 1 HYPERLINK \l _Toc326345089 （二）新电影崛起的社会因素 PAGEREF _Toc326345089 \h 2 HYPERLINK \l _Toc326345090 （三）新电影的写实特点 PAGEREF _Toc326345090 \h 3 HYPERLINK \l _Toc326345091 二、最后的儒者——杨德昌 PAGEREF _Toc326345091 \h 4 HYPERLINK \l _Toc326345092 三、长镜头 PAGEREF _Toc326345092 \h 6 HYPERLINK \l _Toc326345093 （一）长镜头的定义 PAGEREF _Toc326345093 \h 6 HYPERLINK