| （摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，德语专业论文，内容请直接查看目录。） 弗里德里希·威廉·茂瑙(Friedrich Wilhelm Murnau)，(1888—1931)德国导演，德国片子开山祖师，被称作“吸血鬼之父”。他的片子活着界片子中标新立异，作为极端作风化的德国表示主义年夜师，运用光影炮制影象，似乎画家运用油彩般易如反掌，他的长镜头、活动摄影、对片子艺术无尽头的寻求，历来被人们称赞。本文力争从一个全新的角度，影象外型和社会实际之间的关系，来解读茂瑙片子中的幽魅世界。文中，起首追溯了茂瑙人生中的几个主要片断，德语论文，聚焦他不同凡响的精力需求，提出奇特的人生阅历和精力需求是茂瑙片子创作的伟大动力，并为他的片子创作供给了丰硕的生涯素材，打下了坚实的基本。为进一步解读茂瑙的影象世界，论文中对茂瑙片子创作的几个时代和影片类型停止归结整顿，得出三个阶段和五种影片类型的结论，为进一步解读茂的瑙影象世界供给主要根据。论文中，起首聚焦茂瑙片子中的丑陋外型，对其停止分类、归结，得出结论，影象中丑和恶的外型，寄寓了茂瑙对实际中丑陋的否认批评，在宣泄污染人们心坎讨厌恐惧的不良情感的同时，承载着对爱和美的盼望召唤。其次，文中重点研讨了茂瑙影片中女性脚色的设定和外型特色，归结出，茂瑙影片中的女性脚色，寄寓了茂瑙幻想人道中的爱与美，对女性精力境地的摸索和重构，是茂瑙艺术片子中的亮点。盼望回归，探访承载人类身材和魂魄的“桃花源”，是茂瑙影象创作的终生任务。茂瑙艺术片子中可以寻找的器械许多，解读茂瑙影象中的幽昧世界，对于明天的人从新审阅本身，客不雅、明智的评价本身的存在措施也是一种指引和污染，值得明天的片子人反思。 Abstract: Friedrich wilelm Murnau (Friedrich Wilhelm Murnau) (1888 - 1931) German director, founder of German film, known as "the father of vampires". His film alive bound film winning new innovation, as extreme as weathering of Germany said doctrine of the eve of the division, the application of light and shadow processing image, as if the painter paint application like a piece of cake, his long lens, photographic activities, to film art endless seeking, has always been praised. This paper strives to the relationship between the image appearance and social reality from a new point of view, to interpret the Murnau film in a quiet charm of the world. The chapeau traces the Murnau life in several main fragments, focusing his extraordinary energy demand proposed peculiar life experience and energy requirement in Murnau film creation of great power, and for his creation of the film supply the rich material life and lay a solid foundation. For further interpretation of Murnau's image in the world. The Murnau film creation of several times and film type stop attributed to rectify and draw three stages and five types of films conclusion. For further interpretation of Mao Nao image world supply mainly based on. Paper, chapeau focusing Murnau film the ugly appearance, the stop classification, sum up, draws the conclusion and images in the ugly and evil appearance, ignited the Murnau to deny real ugly criticism in vent pollution people heart hate fear bad feelings at the same time, carrying the call of love and beauty of the hope. Secondly, in this paper focuses on the female role in Murnau film set and appearance characteristics, summed up, female role in Murnau film ignited the humanity of Murnau fantasy of love and beauty, exploration and reconstruction of female spiritual realm, Murnau film art is the bright spot. Looking forward to return to visit, carrying the human body and soul of the "the Peach Garden", is a lifelong task Murnau image creation. Murnau film art can find many instruments and interpretation of Murnau image of you ignorant world. About tomorrow from the review itself, objectivity, wise evaluation the method as well as a guide and pollution is tomorrow's film reflection. 目录: 摘要 5-6 Abstract 6 绪论 9-15 第1章 茂瑙电影创作的几个时期及其艺术特色 15-18 第2章 茂瑙影像中对丑和恶的揭露批判 18-30 2.1 影像中的战争 18-20 2.2 金钱禁锢下的众生相 20-25 2.3 聚焦影像中的否定性造型 25-30 2.3.1 否定性造型的创作诱因 25-27 2.3.2 否定性造型的独特内涵 27-28 2.3.3 否定性造型的现实影响 28-30 第3章 茂瑙影像中女性及其独特艺术魅力 30-43 3.1 茂瑙生活和影像中的女性 30-32 3.2 影片中女性形象的艺术价值 32-34 3.3 理想中的爱与美—女性魅力 34-43 第4章 茂瑙影片中对爱与美的探析重构 43-53 4.1 失乐园的忧戚 43-46 4.2 爱与美的重构 46-47 4.3 茂瑙的求索—追问上帝 47-53 4.3.1 理想的归属—“家”的设想 49-50 4.3.2 诗意的回归—南海“禁忌” 50-53 结语 53-56 参考文献 56-58 致谢 58 |
