恶之花：中岛哲也电影风格探析
发布时间：2018-11-15 17:48
【摘要】：上世纪80年代,日本电影大制片厂制度土崩瓦解,经历了低迷期后在90年代有了新的起色,独立制片公司大批涌现,跃出了如北野武、岩井俊二等电影新人。他们在题材和形式上不断创新,给各种类型注入了个人风格化的基因。由此展开了一场异彩纷呈的日本新电影运动。同样参与到这场运动的中岛哲也因其以往作为广告MV导演所养成的拍摄习惯、画面风格而在这批电影新人中脱颖而出。中岛哲也的电影作品吸纳了广告式的快节奏,同时对于场景的设计、画面的色彩及构图、人物的造型等都十分考究。除此之外,其也善于将CG动画、歌舞剧等其它艺术样式融入到作品当中,产生强烈的视觉冲击,达到陌生化的审美效果。华丽,是中岛哲也电影鲜明的标签。作品中浓墨重彩的洛可可样貌充斥华美的事物,高饱和的色彩和精致夸张的外貌使其电影带有奇异的超现实色彩。中岛哲也极力地探索视觉艺术的表现手段,在一定程度上向我们展现了画面中各要素在烘托人物形象与情感传达的更多可能性。然而被华丽的外貌裹挟着的是残酷的世界。在他镜头下的角色总会进入一个失真的或有悖于真实生活的情节,作品的选材永远关照着超现实的另类故事,通过编制奇突的情节呈现出一个光怪陆离的艺术世界。在这个世界里面,人是怪异的、偏执的,在人格上带有不健全的表现,与他人的疏离、冷漠使得他们无“家”可归如孤独者般存在,因此这些人便成为混迹现实世界中人群的异类。另类的题材内容以扭曲、夸张、变形的方式进行诠释,带给观众一个重新认识、解读生活的角度。透过奇特的外貌,中岛电影的实质是对现代日本社会内部问题的批判。这种批判性表现出对人、对社会等的不满,利用各种怪诞的表现形式,将这种批判意识在或明亮、或黑暗的影像中表达出来。成长、暴力、孤独与罪都是中岛热衷表达的主题,关心的是当下文化杂交状态下的日本社会的面貌以及在社会中挣扎求生的芸芸众生。中岛借助唯美的、绚烂的表现形式描绘着不和谐、不正常的怪异世界,揭示的是冷漠、暴力、歧视、自私等丑陋问题。以“美”的手法来表现“丑”的事物,使作品的外貌与本质产生强烈的反差,从而形成“恶之花”样貌的独特审美体验及美学效果。对于已经年近六旬的电影“新人”来说,中岛哲也能够在坚持自我的大胆创新的同时又能赢得观众的认可实属不易。他在迎合市场与坚定自我两者之间能够做出良好的平衡正是当代电影人需要掌握的必备技能。通过归纳法探寻中岛哲也电影更深层的思想内涵,以期更好地理解中岛哲也的艺术美学追求。同时对以后中岛导演研究提供更多的研究、思考方向。
[Abstract]:In the 1980s, the Japanese film studio system collapsed, experienced a downturn in the 1990s made a new start, independent studios emerged in large numbers, such as Takeshi Kitano, Ishii Junji film newcomers. They innovate in subject matter and form, infusing personalised genes into various types. This launched a colorful new Japanese film movement. Also involved in the movement, Kishima Nakajima stands out among the film's newcomers because of his habit of shooting as an advertising MV director and the style of the film. Nakajima's film works absorb the fast rhythm of advertising, at the same time for the design of the scene, the color and composition of the screen, the shape of the characters are very sophisticated. In addition, it is good at incorporating other artistic styles such as CG animation, song and dance into the works, which has strong visual impact and achieves the aesthetic effect of strangeness. Gorgeous, is also the distinctive label of Nakajima philosophy film. Rococo's colorful appearance is full of beautiful things, high saturation color and exquisite and exaggerated appearance make the film with strange surreal color. Nakashima philosophy also tries its best to explore the means of expression of visual art, to a certain extent, showing us the various elements in the screen in contrast to the character image and emotional transmission of more possibilities. Yet it was the cruel world that was covered by the ornate appearance. The characters in his camera always enter into a distorted or contrary to the real life of the plot, the selection of works always take care of surreal alternative stories, through the preparation of strange plot to show a strange artistic world. In this world, people are weird, paranoid, with imperfections in their personality, alienated from others, and indifferent so that they have no "home" to return to as loners. As a result, these people become mixed in the real world of the crowd of different species. The alternative theme is interpreted in a distorted, exaggerated and deformed way, bringing the audience a new understanding and understanding of the angle of life. Through its peculiar appearance, the essence of the Nakajima film is to criticize the internal problems of modern Japanese society. This critical expression of dissatisfaction with people, society and so on, using all kinds of grotesque forms, this critical consciousness is expressed in bright or dark images. Growth, violence, loneliness and sin are the themes that Nakajima is keen to express. He is concerned about the appearance of Japanese society in the current cultural hybrid state and the masses of people struggling to survive in the society. With the help of beautiful and gorgeous forms, Nakajima depicts disharmonious and abnormal strange world and reveals ugly problems such as apathy, violence, discrimination, selfishness and so on. The expression of "ugliness" by means of "beauty" makes the appearance and essence of the work produce a strong contrast, thus forming the unique aesthetic experience and aesthetic effect of the appearance of "Flower of Evil". For the movie New Man, which is in its late sixties, it is not easy for Nakajima to be bold and innovative while winning the approval of the audience. His ability to strike a good balance between market-pandering and self-determination is an essential skill for contemporary filmmakers. In order to better understand the pursuit of art and aesthetics, this paper explores the deeper ideological connotation of the Chinese island philosophy film through induction. At the same time, the future of the director of the island to provide more research, thinking direction.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
本文编号：2334010
[Abstract]:In the 1980s, the Japanese film studio system collapsed, experienced a downturn in the 1990s made a new start, independent studios emerged in large numbers, such as Takeshi Kitano, Ishii Junji film newcomers. They innovate in subject matter and form, infusing personalised genes into various types. This launched a colorful new Japanese film movement. Also involved in the movement, Kishima Nakajima stands out among the film's newcomers because of his habit of shooting as an advertising MV director and the style of the film. Nakajima's film works absorb the fast rhythm of advertising, at the same time for the design of the scene, the color and composition of the screen, the shape of the characters are very sophisticated. In addition, it is good at incorporating other artistic styles such as CG animation, song and dance into the works, which has strong visual impact and achieves the aesthetic effect of strangeness. Gorgeous, is also the distinctive label of Nakajima philosophy film. Rococo's colorful appearance is full of beautiful things, high saturation color and exquisite and exaggerated appearance make the film with strange surreal color. Nakashima philosophy also tries its best to explore the means of expression of visual art, to a certain extent, showing us the various elements in the screen in contrast to the character image and emotional transmission of more possibilities. Yet it was the cruel world that was covered by the ornate appearance. The characters in his camera always enter into a distorted or contrary to the real life of the plot, the selection of works always take care of surreal alternative stories, through the preparation of strange plot to show a strange artistic world. In this world, people are weird, paranoid, with imperfections in their personality, alienated from others, and indifferent so that they have no "home" to return to as loners. As a result, these people become mixed in the real world of the crowd of different species. The alternative theme is interpreted in a distorted, exaggerated and deformed way, bringing the audience a new understanding and understanding of the angle of life. Through its peculiar appearance, the essence of the Nakajima film is to criticize the internal problems of modern Japanese society. This critical expression of dissatisfaction with people, society and so on, using all kinds of grotesque forms, this critical consciousness is expressed in bright or dark images. Growth, violence, loneliness and sin are the themes that Nakajima is keen to express. He is concerned about the appearance of Japanese society in the current cultural hybrid state and the masses of people struggling to survive in the society. With the help of beautiful and gorgeous forms, Nakajima depicts disharmonious and abnormal strange world and reveals ugly problems such as apathy, violence, discrimination, selfishness and so on. The expression of "ugliness" by means of "beauty" makes the appearance and essence of the work produce a strong contrast, thus forming the unique aesthetic experience and aesthetic effect of the appearance of "Flower of Evil". For the movie New Man, which is in its late sixties, it is not easy for Nakajima to be bold and innovative while winning the approval of the audience. His ability to strike a good balance between market-pandering and self-determination is an essential skill for contemporary filmmakers. In order to better understand the pursuit of art and aesthetics, this paper explores the deeper ideological connotation of the Chinese island philosophy film through induction. At the same time, the future of the director of the island to provide more research, thinking direction.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
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