| 法国“新海潮”活动是世界片子史上三年夜美学活动之一，指法国影坛在1958到1962年涌起的一股由默默无闻的青年竞相拍摄童贞作的高潮。他们批评传统僵化的“优良片子”，强调要拍摄具有导演“小我作风”的影片，要把片子改革成为小我化的艺术。克洛德·麻布罗尔的表兄弟、弗朗索瓦·特吕弗的四百下、让一吕克·戈达尔的精疲力竭等影片即以全新的片子不雅念和美学情势在一些片子节上纷纭获奖，震动了世界影坛，使美国、英国、西德、日本等国度也接踵涌现了“新海潮”片子活动，掀起了世界规模内的片子美学反动。法国“新海潮”片子美学异样对中国现代片子（特指1977年以来中国年夜陆、台湾、喷鼻港两岸三地的片子）发生了深远作用。本文共分为五章加以阐述：第一章引见法国“新海潮”发生的配景、美学思惟、美学特点；第二章剖析法国“新海潮”的纪实美学与存在主义美学思惟对中国现代片子的启示；第三章从创作理论方面论述法国“新海潮”的美学技能对中国现代片子的作用；第四章梳理“作者论”在中国的流传进程，并论述其对中国片子批驳及片子创作理论的作用；第五章则从制片体系体例变更意见国“新海潮”的美学改革活动对中国现代片子的作用。本文力争从微观上去掌握法国“新海潮”对中国现代片子的作用，希冀从中找出中国现代片子在近三十年来从繁华、式微、到再现曙光的缘由，寻觅出片子成长的某些纪律，法语论文，给以后的中国片子艺术创作供给一个参照系，法语论文题目，并摸索中国片子在将来的成长远景。 Abstract: A French film in 1958 to 1962 upsurge A shares by a young unknown competing shooting virginity as the climax of the French "new tide" is one of world film history on the eve of the three aesthetic activities. They criticized the traditional rigid "excellent film", stressed the need to shoot with the director of the ego style of the film, the film should be changed into the art of the individual. Francois Truffaut Claude Dhabrol's "cousin", the "four hundred", let Luc, Godard "exhausted" and other films is read by new movie indecent and aesthetic situation in some of the film festival diverse winning shook the world cinema, making the United States, Britain, Germany, Japan and other countries also have sprung up the "new tide" film, set off a worldwide film aesthetics reactionary. Profound influence occurred in France "new tide" film aesthetics strange since the modern Chinese film (especially in 1977, China mainland, Taiwan, nasal spray Hong on both sides of the film). This article is divided into five chapters to elaborate: first chapter introduced the French "new tide" in the background, aesthetic thought, aesthetic characteristics; the second chapter analysis of French "new tide" documentary aesthetics and Existentialist Aesthetics Thoughts of modern Chinese film enlightenment. Chapter three discussed aspects of the theory of creation from the French "new tide of" aesthetic skills of modern Chinese film effect; fourth chapter combs "author theory" in China spread process, and discuss the Chinese film criticism and the creation of the film theory of influence; the fifth chapter from the studio system style change reform aesthetic opinion in "the new tide" of modern Chinese film effects. This paper tries to from microscopic up master effects of the French "new tide" of modern Chinese film, hoping to find out modern Chinese films in recent thirty years from the prosperity and decline, to reproduce dawn the reason, find out some of the discipline of film growth, to the Chinese film art art creation supply a reference system, and explore the Chinese film in the future growth prospects. 目录: 封面 1-2 |
