【作者】 寻茹茹；

【导师】 姜静楠；

【作者基本信息】 山东师范大学 ， 电影学， 2007， 硕士

【摘要】 蔡明亮是20世纪90年代以来台湾电影界成就卓著的导演之一,也是当代台湾电影界乃至世界影坛最具个性和风格的电影作者之一,他在电影语言的创新和电影风格的探索上为丰富和革新华语电影的形态、推动华语电影进一步走向世界做出了贡献。蔡明亮一向坚持个人化创作,坚持“作者电影”理论,本文就以“作者电影”理念为基点,以蔡明亮电影本体为研究对象,探究其独特的影像风格。第一章论述蔡明亮影像特殊的时空观:由于受后现代文化影响,蔡明亮影片中的时间是凝滞的“现在式”,是表现主题、再现真实的工具;由于早期从事“小剧场”创作,蔡明亮影片的造型空间多呈现“剧场化”的封闭性处理,但是声音、出入画等手法的使用又拓展出表现空间的开放性。第二章论述蔡明亮影片非戏剧性叙述结构:蔡明亮抛弃了“好莱坞经典叙事模式”,取消矛盾冲突,淡化故事情节,运用简练的平行蒙太奇方法串联影片,显示出节约、质朴的结构特征。幽默的细节点缀、开放式的影片结局、相映成趣的前呼后应,使简约的结构中,亦透露出别致构思。第三章论述蔡明亮影片中长镜头的运用:蔡明亮影片中运用最多的是不变焦、人物调度丰富的景深镜头,“注目礼”式的景深镜头更是蔡明亮特有的偏好;与侯孝贤的远景固定长拍不同,蔡明亮更多运用中近景固定长镜头,直逼人物孤寂的生存状态;综合性的运动长镜头与长镜头的蒙太奇组接更是蔡明亮开拓性尝试。第四章论述蔡明亮影片中声音元素的个性化处理:电影的“声音元素”是非常重要的审美因素,对于坚持个性化创作的蔡明亮来说,精要化的对白、丰富性的音响以及多样化的音乐成为其电影风格的重要标识。第五章阐述蔡明亮影片中光影色调的极致追求:光影上只“唯真”不“唯美”,采用偏冷影调的富士底片达到创作意图;色彩上,以不饱和的素色系为色彩基调,形成幽暗影调。同时,蔡明亮会在单个镜头内部或整个影调风格中加入一抹亮色,构成特有“调色法”,达到基本影调中的风格变奏。更多还原

【Abstract】 Cai Mingliang, one of the most fruitful directors in the film industry of Taiwan and one of the most unique film authors in Taiwan and even in the world as well, has made great contributions to diversifying and renovating Chinese film forms by innovating film languages and exploring for film styles so as to further promote Chinese films into the world. Cai has been focusing on personalize creation and sticking to the theory of auteurism. This thesis, on a basis of the ideology of“author’s film”, probes into Cai’s peculiar film style.The first part summarizes Cai’s peculiar film time-space concept. The time in Cai’s films, deeply influenced by post-modernism, is the stable“present tense”, utilized as a tool to convey the sense and represent the reality. The space in Cai’s films is more or less characterized by its theatricalism because Cai was engaged writing dramas in his early stage of creation. However, the utilization of sound and crossing of picture on the other hand represents the openness of time-space.The second part gives an account of the non-dramatic narrative structure in Cai’s films. Cai, rejecting the Hollywood’s classical narrative mode, canceling the contradiction and conflict and weakening the story plot, employs simple and parallelized montage method in making films, demonstrating a character of being economical and simple. Several humorous details, opening ending and ending part’s echoing to the beginning part all represent the character of economy in film structure and peculiarity in construction.The third part deals with the utilization of long lens. The most frequently utilized method in CAI’s films is depth of field, in which the non-zooming and characters’rich field of depth, and the“eye-on”field of depth is Cai’s preference. Cai, different from HouXiaoxian,who prefers fixed long shot, more often employs the close shot of the characters, revealing their living condition. Comprehensive fluid long shot and montage combination of long shot are also Cai’s creative attempt.The fourth part gives a description of the unique utilization of the sound elements. Simplification of dialogues, richness of sound effects and diversity of music styles become the unique and distinctive features of Cai’s film styles.The fifth part gives an account of Cai’s personalized application of high tone of light. As regards towards light, Fuji films of relatively cold color tone is utilized, focusing on the reality instead of beauty. While as for the color, the main color tone is the unsaturated plain colors, which demonstrate a dark film tone. At the same time, Cai might add a light color in a single shot or the whole film, forming Cai’s unique method of color correction, achieving a variation of style in the main relationship between light and shadow.更多还原