本文關(guān)鍵詞：是枝裕和電影藝術(shù)特征研究，由筆耕文化傳播整理發(fā)布。

網(wǎng)友yixingmaoj近日為您收集整理了關(guān)于是枝裕和電影藝術(shù)特征研究的文檔，希望對(duì)您的工作和學(xué)習(xí)有所幫助。以下是文檔介紹：是枝裕和電影藝術(shù)特征研究重慶大學(xué)碩士學(xué)位論文(學(xué)術(shù)學(xué)位)學(xué)生姓名:李龍蓮指導(dǎo)教師:黃琳教授專(zhuān)業(yè):戲劇與影視學(xué)學(xué)科門(mén)類(lèi):藝術(shù)學(xué)重慶大學(xué)美視電影學(xué)院二 O 一四年四月The Movie Artistic Features Research ofHirokazu KoreedaA Thesis Submitted to Chongqing Universityin Partial Fulfillment of the Requirement for theMaster’s Degree of Film StudiesByLi LonglianSupervised by Prof. Huang LinSpeciaity: Drama and FilmCollege of Meishi Film Academy ofChongqing University, Chongqing, China.April, 2014中文摘要I摘要二十世紀(jì)九十年代以來(lái),一批極具個(gè)人風(fēng)格的新導(dǎo)演登上了日本電影的歷史舞臺(tái),他們倡導(dǎo)全新的現(xiàn)代電影觀念,打破傳統(tǒng)日本電影相對(duì)僵化的制作模式,以電影革新者的身份廣泛受到西方和本土關(guān)注,從而掀起了日本新電影運(yùn)動(dòng),他們給日本電影的復(fù)蘇帶來(lái)了新的希望。作為這場(chǎng)新電影運(yùn)動(dòng)后起之秀的是枝裕和,被評(píng)論家稱(chēng)為“同輩人中思想最嚴(yán)肅”和“獨(dú)一無(wú)二”的導(dǎo)演,他擅長(zhǎng)運(yùn)用人文紀(jì)實(shí)的拍攝技法與虛構(gòu)超現(xiàn)實(shí)的故事,展現(xiàn)生與死、記憶、孤獨(dú)、喪失、認(rèn)知等母題,繼承回歸了傳統(tǒng)日本電影富有日常生活氣息的家庭倫理觀,以一種客觀疏離的姿態(tài)與懷舊抒情的方式重新審視了當(dāng)代日本家庭關(guān)系及現(xiàn)代人的復(fù)雜內(nèi)心與精神世界。本文以是枝裕和導(dǎo)演及電影作品為研究對(duì)象,著重從他的電影文本、形式、風(fēng)格和主題出發(fā),探討他電影中所運(yùn)用的創(chuàng)作技法及主題思想的展現(xiàn),分析他電影作品的藝術(shù)特征、影像風(fēng)格、文化主題的深層內(nèi)涵,以及他作為日本新導(dǎo)演的特質(zhì)與超越性,并通過(guò)把他與賈樟柯導(dǎo)演的創(chuàng)作進(jìn)行比較分析,試圖探討具有紀(jì)錄片工作經(jīng)驗(yàn)的電影人在劇情片創(chuàng)作中,所呈現(xiàn)出的共同特征及差異性。關(guān)鍵詞:是枝裕和,藝術(shù)特征,影像風(fēng)格,文化主題重慶大學(xué)碩士學(xué)位論文II英文摘要IIIABSTRACTSince the 1990s, a group of highly personal style of the new directors has steppedonto the stage of the history of the Japanese film. Advocating the new concept ofmodern film and breaking the rigid mode of traditional Japanese film, they drawwestern and domestic attention and create a new Japanese film movement as movieinnovators, bringing new hope to the recovery of Japanese film. As a rising star ofmovie movement, Kore-eda was called the most serious and unique director by critics.He is good at using the filming technique of humanistic documentary and making upsurreal stories to show the life and death,memory,loneliness,loss,cognition and otherthemes,which inherits the family ethics of the traditional Japanese film and re-he relationship between the contemporary Japanese households and plex heartand spirit world of the modern people in the way of nostalgic sentiment and objectivealienation. Taking the director Kore-eda and his film as the research object,from theview of film text,form,style,and theme,this paper discusses the design techniques usedin his films and the representation of the theme,analyses the artistic features,imagestyle,and deep connotation of cultural theme in his films,and shows his qualities andtranscendence as a new director in Japan.What's more,paring and analyzing hisworks and the creations of the director jia zhangke, this paper also tries to explore mon characteristics and differences of filmmakers who have rich workingexperience of documentary in drama film creation.Keywords: Hirokazu Koreeda, artistic features, image style, cultural theme重慶大學(xué)碩士學(xué)位論文IV目錄V目錄中文摘要I英文摘要III1 緒論12 是枝裕和電影的創(chuàng)作背景與生平 52.1 日本新電影運(yùn)動(dòng)的背景概述62.2 是枝裕和創(chuàng)作生平與藝術(shù)道路93 是枝裕和電影的形式與風(fēng)格 173.1 是枝裕和電影的敘事形式183.1.1 去戲劇化的情節(jié)書(shū)寫(xiě) 193.1.2 生活流的時(shí)空交織 223.1.3 限制情境下的人物命運(yùn) 253.2 是枝裕和電影視聽(tīng)語(yǔ)言的運(yùn)用273.2.1 紀(jì)錄片技巧的運(yùn)用 283.2.2 長(zhǎng)鏡頭的運(yùn)用 303.2.3 聲音的敘事與抒情 363.3 是枝裕和電影的創(chuàng)作風(fēng)格383.3.1 真實(shí)與虛構(gòu)的融合 383.3.2 敘事與情感的平衡 403.3.3 象征與隱喻的運(yùn)用 424 是枝裕和電影的文化主題闡述 454.1 是枝裕和電影中的生死觀454.1.1 對(duì)死亡的書(shū)寫(xiě) 484.1.2 對(duì)生存的關(guān)懷 494.2 是枝裕和電影中的家庭觀514.2.1 疏離與牽絆的親情 534.2.2 缺失與重構(gòu)的

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  本文關(guān)鍵詞：是枝裕和電影藝術(shù)特征研究，，由筆耕文化傳播整理發(fā)布。