| 法国新海潮是世界片子史上三年夜美学活动之一，指法国片子界在1958年至1962年间出现的一股由默默无闻的年青片子导演竞相拍摄片子童贞作的高潮。他们强调具有“小我作风”的影片拍摄作风，摒弃传统的“老爸片子”，法语论文网站，要把片子改革成为小我化的艺术。因为弗朗索瓦·特吕弗的四百击、让一吕克·戈达尔的精疲力竭等一批影片以全新的片子不雅念和美学情势在片子节上纷纭获奖，“新海潮”片子震动了世界。使美洲、欧洲、亚洲等国度也接踵涌现“新海潮”片子活动，掀起世界规模内的片子美学反动。法国“新海潮”异样也对中国的古代片子发生深远作用。本文共分五章加以阐述：第一章引见法国“新海潮”发生的社会配景及片子家当的成长对“新海潮”发生的主要推进感化；第二章论述“新海潮”片子活动的实际导师—巴赞及“新海潮”的重要两年夜派别；第三章梳理“新海潮”的美学思惟、美学特点；第四章联合“新海潮”的经典影片评析戈达尔和雷奈的片子美学特点；第五章引见“新海潮”的崩解并剖析法国“新海潮”的纪实美学与存在主义美学思惟对中国古代片子的作用。本文力争从微观上去掌握法国“新海潮”的片子美学思惟的发生、成长、繁华、式微的缘由。寻觅出片子成长的某些纪律，法语论文范文，给中国片子艺术创作供给一个参照系，并摸索中国片子在将来的成长偏向。 Abstract: The French film industry appeared in the 1958 and 1962 A shares by the unknown young film director competing shooting Katayko Douzhensaku climax of French new tide is one of the world film history on the eve of the three aesthetic activities. They stressed that a "personal style" filming style, abandon the traditional "father's film", the film becomes the ego of the art of reform. Because Francois Truffaut's "the 400 blows", let a Godard's "exhausted" and so on a number of films in the new film indecent thoughts and aesthetic situation at the film festival of diverse award, the "new tide" film shocked the world. To the Americas, Europe, Asia and other countries also have sprung up "new tide" film, set off a worldwide film aesthetics reactionary. The French "new tide" is also on the ancient China film have far-reaching influence. Comment on the "tutor" film on the growth of this paper is divided into five chapters to elaborate: the first chapter introduces the French "new tide" the social background and the movies possessions "new tide" the main role in promoting; the second chapter deals with the "new tide Bazin and the" new tide important two of the eve of the factions; the third chapter "the new tide" aesthetic thought, aesthetic characteristics. The fourth chapter combined "new tide" of the classic film Godard and Resnais film aesthetic characteristics. The fifth chapter introduces "the new tide" disintegration and analysis of the French "new tide" documentary aesthetics and Existentialism aesthetics thinking of ancient Chinese movies. This paper tries to from microscopic up to master the occurrence of the French "new tide" film aesthetics thought, growth and prosperity, the decline of reason. Find some discipline film growth, to supply a Chinese film art creation reference, and explore in the future growth of the Chinese film. 目录: 摘要 3-4 Abstract 4 前言 6-9 第一章 法国新浪潮的产生 9-13 第一节 法国新浪潮产生的社会背景 9-10 第二节 电影产业的飞速发展 10-13 第二章 法国新浪潮电影美学思想 13-20 第一节 法国新浪潮的导师——巴赞 13-15 第二节 新浪潮的分类 15-20 第三章 法国新浪潮电影美学思想和技巧 20-26 第一节 法国新浪潮的美学特征 20-23 第二节 法国新浪潮的美学技巧 23-26 第四章 新浪潮的巨人 26-39 第一节 新浪潮的巨人 26 第二节 戈达尔 26-33 第三节 雷奈其人 33-39 第五章 新浪潮的崩解及对中国当代电影的作用 39-47 第一节 新浪潮的崩解 39-41 第二节 新浪潮对中国当代电影的作用 41-47 结语 47-48 参考文献 48-51 致谢 51-53 攻读硕士期间发表论文 53 |
