剪辑创作在电影文本建构中的修辞介入——以廖庆松剪辑“自由度”的拓展为例

发布时间：2018-01-18 01:28

  本文关键词：剪辑创作在电影文本建构中的修辞介入——以廖庆松剪辑“自由度”的拓展为例　出处：《学术交流》2017年05期 　论文类型：期刊论文

  更多相关文章： 廖庆松 电影剪辑修辞 自由度

【摘要】：电影剪辑艺术创作实践是电影后期制作环节的三度创作。剪辑师在创作过程中,参与电影修辞实践的"自由度"是剪辑师成长和创作生涯中始终面临的问题。廖庆松作为台湾著名电影剪辑师,他四十余年的剪辑艺术创作生涯展现了其电影修辞技能养成以及修辞运作逻辑由外而内的美学嬗变,从剪辑技法圆融度和剪辑处置参考点的嬗变维度可见廖庆松剪辑艺术美学升级进程中所呈现的从动作主导、导演主导、情感主导到由剪辑师自身完整度主导的诗化剪辑策略等阶段性剪辑观念,这为电影剪辑学人提供了一个深切体认电影剪辑修辞要义的通道和一个明晰了解剪辑技能养成方法的范本。
[Abstract]:The practice of film editing art creation is the third creation of film post production. The editor is in the process of creation. "Freedom" in the practice of film rhetoric has always been a problem faced by editors in their growing up and creative careers. Liao Qingsong is a famous film editor in Taiwan. His artistic editing career of more than 40 years shows the aesthetic evolution of his rhetorical skills and the logic of rhetoric operation from outside to inside. From the perspective of editing techniques and the transmutation dimension of the reference point of editing disposal, it can be seen that Liao Qingsong's artistic aesthetic upgrading process is dominated by action and directed by director. Emotional dominance to the editor's own integrity of the poetic editing strategy and other phased editing concepts. This provides the film editor with a deep understanding of the rhetorical meaning of film editing and a model for developing a clear understanding of editing skills.
【作者单位】： 中国传媒大学动画与数字艺术学院;北京电影学院导演系;天津电视台;
【基金】：2015年教育部人文社科重点研究基地中国传媒大学广播电视研究中心一般项目“影视数字特效叙事研究”(2015JDYB03)
【分类号】：J932
【正文快照】： 3.天津电视台,天津300020)传统意义上,电影前期创作阶段的文学剧本创作被视为一度创作,对文学剧本进行影像化改造的中期拍摄阶段的电影创作称为二度创作,而电影剪辑艺术创作实践作为电影后期创作环节的三度创作却很少被学界关注。区别于其他门类的艺术创作,在电影剪辑艺术的创，

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