论大岛渚电影的艺术特征
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摘要
日本电影新浪潮代表人物大岛渚的创作期跨越了日本电影史中战后日本电影、日本电影新浪潮、世纪末日本电影三个时期,给日本电影做出了重大贡献。
战后日本电影时期,大岛渚首部电影作品《爱与希望之街》用现实主义手法描绘了社会阶级观念的无法相容,提出了深刻的民主诉求。新浪潮时期大岛渚创作成果丰硕,《太阳的墓场》、《日本夜与雾》、《青春残酷物语》三部影片用成熟、尖锐、深刻的手法分别对彼时时局下人们的情绪、安保协定的反思、青春的实质三方面进行了探究与评价。世纪末日本电影时期,大岛渚对“性”的关注愈发明显,性的探讨从一个元素变为整个主题。同时,由性所延展出的关于本能及女性地位的探讨也渗透其间。
大岛渚电影受到了国内、国外的双重作用。国内有,对小津安二郎创作理念的反对,与今村昌平在主题、创作宗旨上的殊途同归。国外有,日本新浪潮作为法国新浪潮的波及对象在内容和主旨上与法国新浪潮有颇多联系。最重要的联系是大岛渚为旗手的日本电影新浪潮与法国新浪潮在创作理念上都以萨特的存在主义为哲学基石,以反叛精神为核心理念。
颇具风格的小说式剧作结构与对“原罪”的追寻、“性”的探讨分别是大岛渚在剧作和主题上的特征。
大岛渚影片以关注时政闻名。对时政的关注赋予了影片强大的社会功能性,这一点恰恰是中国电影缺少的。在信息接收方式改变的今天,电影的文宣作用应该被充分发掘利用,力求成为社会议论的话语场。文以载道的创作主旨在今天的中国正迎来最好的契机,众多社会问题正等待着通过电影来引起思考、关注甚至改革。中国电影成为强国武器之时才能真正成为东方大国中国的形象名片(比拍一万部国家宣传片更有意义)。
综上所述,该文的创新点有以下两个方面:
一.提出萨特的“存在主义”哲学是法国电影新浪潮对大岛渚创作产生的重要影响。
二.提出小说式结构是大岛渚影片的主要剧作结构类型,并在创作方法章节中分析指出了大岛渚某些作品对于美国戏剧的借鉴。
三.大岛渚镜语特征的分析
上述三点多有不成熟之处,敬请批评指正。
Representatives of the Japanese New Wave Creation Oshima of Japan, the film spans the history of postwar Japanese cinema, Japanese New Wave, the late Japanese film three times, to Japan to make a significant contribution to the film.
During the post-war Japanese film, Nagisa Oshima's "Love and Hope Street" with the realistic portrayal of the concept of social class not compatible, made a profound aspirations for democracy. New Wave period of fruitful creative Oshima, "Graveyard of the sun," "Night and Fog in Japan", "Chan Ho," the three films with mature, sharp, deep under the current situation means that people were on the mood of that time, Reflections on the security agreement, the substance of youth to explore three aspects and evaluation. During the late Japanese film, Oshima on the "sex" concerns more apparent, from an element of nature into the whole theme. Meanwhile, extending out from the nature of the position of women on the instincts and has infiltrated during discussion.
Nagisa Oshima film by domestic and foreign dual role. Country has, the opposition of Yasujiro Ozu creative ideas, themes and Imamura Shohei, creating the same thing on purpose. There abroad, the Japanese New Wave French New Wave as the sweep object with the content and thrust of the French New Wave has a lot of contact. The most important link Oshima of Japan as the standard-bearer of the French New Wave and New Wave in the creative ideas are based on existential philosophy, the spirit of resistance as the core idea.
Quite dramatic structure and style of "original sin" of the search, "Nature" of Oshima were in the narrative and thematic characteristics. Oshima film is known to focus current affairs. The attention given to the current politics of the film a strong social function, and this is precisely the lack of Chinese films. Changes in the way of information received today, the role of propaganda films used should be fully exploited, and strive to become argumentative discourse field. Man as a vehicle of creation is ushered in today's China is the best opportunity for many social problems are waiting for thinking through the film to cause concern for even the reform. Chinese film to become truly powerful weapons only when China's image of Eastern powers cards (more than ten thousand national promo shoot more sense.)
In summary, the text of the innovation has the following two aspects:
One. That "existential" philosophy is the cornerstone of the French New Wave films of Nagisa Oshima important impact.
Two. Proposed structure is a dramatic film Oshima main types of play structures, and methods in the creation of chapter points out the Oshima reference works for the American drama.
Three.The character of Oshima’s camera language.
These there points more than a immature Your comments for correction.
Nagisa Oshima, the Japanese New Wave, social function
战后日本电影时期,大岛渚首部电影作品《爱与希望之街》用现实主义手法描绘了社会阶级观念的无法相容,提出了深刻的民主诉求。新浪潮时期大岛渚创作成果丰硕,《太阳的墓场》、《日本夜与雾》、《青春残酷物语》三部影片用成熟、尖锐、深刻的手法分别对彼时时局下人们的情绪、安保协定的反思、青春的实质三方面进行了探究与评价。世纪末日本电影时期,大岛渚对“性”的关注愈发明显,性的探讨从一个元素变为整个主题。同时,由性所延展出的关于本能及女性地位的探讨也渗透其间。
大岛渚电影受到了国内、国外的双重作用。国内有,对小津安二郎创作理念的反对,与今村昌平在主题、创作宗旨上的殊途同归。国外有,日本新浪潮作为法国新浪潮的波及对象在内容和主旨上与法国新浪潮有颇多联系。最重要的联系是大岛渚为旗手的日本电影新浪潮与法国新浪潮在创作理念上都以萨特的存在主义为哲学基石,以反叛精神为核心理念。
颇具风格的小说式剧作结构与对“原罪”的追寻、“性”的探讨分别是大岛渚在剧作和主题上的特征。
大岛渚影片以关注时政闻名。对时政的关注赋予了影片强大的社会功能性,这一点恰恰是中国电影缺少的。在信息接收方式改变的今天,电影的文宣作用应该被充分发掘利用,力求成为社会议论的话语场。文以载道的创作主旨在今天的中国正迎来最好的契机,众多社会问题正等待着通过电影来引起思考、关注甚至改革。中国电影成为强国武器之时才能真正成为东方大国中国的形象名片(比拍一万部国家宣传片更有意义)。
综上所述,该文的创新点有以下两个方面:
一.提出萨特的“存在主义”哲学是法国电影新浪潮对大岛渚创作产生的重要影响。
二.提出小说式结构是大岛渚影片的主要剧作结构类型,并在创作方法章节中分析指出了大岛渚某些作品对于美国戏剧的借鉴。
三.大岛渚镜语特征的分析
上述三点多有不成熟之处,敬请批评指正。
Representatives of the Japanese New Wave Creation Oshima of Japan, the film spans the history of postwar Japanese cinema, Japanese New Wave, the late Japanese film three times, to Japan to make a significant contribution to the film.
During the post-war Japanese film, Nagisa Oshima's "Love and Hope Street" with the realistic portrayal of the concept of social class not compatible, made a profound aspirations for democracy. New Wave period of fruitful creative Oshima, "Graveyard of the sun," "Night and Fog in Japan", "Chan Ho," the three films with mature, sharp, deep under the current situation means that people were on the mood of that time, Reflections on the security agreement, the substance of youth to explore three aspects and evaluation. During the late Japanese film, Oshima on the "sex" concerns more apparent, from an element of nature into the whole theme. Meanwhile, extending out from the nature of the position of women on the instincts and has infiltrated during discussion.
Nagisa Oshima film by domestic and foreign dual role. Country has, the opposition of Yasujiro Ozu creative ideas, themes and Imamura Shohei, creating the same thing on purpose. There abroad, the Japanese New Wave French New Wave as the sweep object with the content and thrust of the French New Wave has a lot of contact. The most important link Oshima of Japan as the standard-bearer of the French New Wave and New Wave in the creative ideas are based on existential philosophy, the spirit of resistance as the core idea.
Quite dramatic structure and style of "original sin" of the search, "Nature" of Oshima were in the narrative and thematic characteristics. Oshima film is known to focus current affairs. The attention given to the current politics of the film a strong social function, and this is precisely the lack of Chinese films. Changes in the way of information received today, the role of propaganda films used should be fully exploited, and strive to become argumentative discourse field. Man as a vehicle of creation is ushered in today's China is the best opportunity for many social problems are waiting for thinking through the film to cause concern for even the reform. Chinese film to become truly powerful weapons only when China's image of Eastern powers cards (more than ten thousand national promo shoot more sense.)
In summary, the text of the innovation has the following two aspects:
One. That "existential" philosophy is the cornerstone of the French New Wave films of Nagisa Oshima important impact.
Two. Proposed structure is a dramatic film Oshima main types of play structures, and methods in the creation of chapter points out the Oshima reference works for the American drama.
Three.The character of Oshima’s camera language.
These there points more than a immature Your comments for correction.
Nagisa Oshima, the Japanese New Wave, social function
引文
[1]黄琳.主编.影视艺术[M].重庆:重庆大学出版社,2001.
[2]黄琳.西方电影理论及流派概论[M].编著.重庆:重庆大学出版社,2008.
[3]阿伦·A·阿莫尔著,石川李涛译.影视导演[M]..上海:复旦大学出版社,1998.
[4]四方田犬彦.日本映画史100年[M].北京:三联书店,2006.
[5]巴拉兹·贝拉著.可见的人:电影精神[M].北京:中国电影出版社,2000.
[6]仲呈祥主编.大学影视[M].武汉:武汉大学出版社,2002.
[7]毕磊菁著.影视评论学初探[M].北京:中国广播电视出版社,2006.
[8]游飞蔡卫著.世界电影理论思潮[M].北京:中国广播电视出版社,2002.
[9]伊芙特·皮洛著.《世俗神话——电影的野性思维》[M].北京:中国电影出版社,2003.
[10]张浩岚著.视听语言[M].北京:中国电影出版社,2006.
[11]邵长波著.电视结构艺术[M].北京:中国广播电视出版社,2002.
[12]张荣,马西平编著.电影艺术概论[M].西安:西安交通大学出版社,2000.
[13]王志敏主编.电影学基本理论与宏观叙述[M].北京:中国电影出版社,2002.
[14]卡温著,李显立等译.解读电影[M].桂林:广西师范大学出版社,2003.
[15]安燕主编.影视语言[M].重庆:西南师范大学出版社,2008.
[16]马塞尔·马尔丹著.电影语言[M].北京:中国电影出版社,2006.
[17]南野邵清风俞洁应小敏赵建飞钟丽茜著.影视作品解读[M].北京:中国传媒大学出版社,2007.
[18]焦雄屏著.法国电影新浪潮[M].江苏:江苏教育出版社,2005.
[19]冯友兰著.中国哲学简史[M].北京:新世界出版社,2005.
[20]梁文道著.常识[M].桂林:广西师范大学出版社,2009.
[21]李亦中著.中外影视精品赏析[M].北京:北京大学出版社,2009.
[2]黄琳.西方电影理论及流派概论[M].编著.重庆:重庆大学出版社,2008.
[3]阿伦·A·阿莫尔著,石川李涛译.影视导演[M]..上海:复旦大学出版社,1998.
[4]四方田犬彦.日本映画史100年[M].北京:三联书店,2006.
[5]巴拉兹·贝拉著.可见的人:电影精神[M].北京:中国电影出版社,2000.
[6]仲呈祥主编.大学影视[M].武汉:武汉大学出版社,2002.
[7]毕磊菁著.影视评论学初探[M].北京:中国广播电视出版社,2006.
[8]游飞蔡卫著.世界电影理论思潮[M].北京:中国广播电视出版社,2002.
[9]伊芙特·皮洛著.《世俗神话——电影的野性思维》[M].北京:中国电影出版社,2003.
[10]张浩岚著.视听语言[M].北京:中国电影出版社,2006.
[11]邵长波著.电视结构艺术[M].北京:中国广播电视出版社,2002.
[12]张荣,马西平编著.电影艺术概论[M].西安:西安交通大学出版社,2000.
[13]王志敏主编.电影学基本理论与宏观叙述[M].北京:中国电影出版社,2002.
[14]卡温著,李显立等译.解读电影[M].桂林:广西师范大学出版社,2003.
[15]安燕主编.影视语言[M].重庆:西南师范大学出版社,2008.
[16]马塞尔·马尔丹著.电影语言[M].北京:中国电影出版社,2006.
[17]南野邵清风俞洁应小敏赵建飞钟丽茜著.影视作品解读[M].北京:中国传媒大学出版社,2007.
[18]焦雄屏著.法国电影新浪潮[M].江苏:江苏教育出版社,2005.
[19]冯友兰著.中国哲学简史[M].北京:新世界出版社,2005.
[20]梁文道著.常识[M].桂林:广西师范大学出版社,2009.
[21]李亦中著.中外影视精品赏析[M].北京:北京大学出版社,2009.
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