1、浅析纪录片中画面语言的运用以个人系列作品甲乙丙丁为例摘 要有人说电影是光影的艺术，有人说电影是结构线条的美学，还有人说电影是色彩的艺术，他们说的有错么？都没错！电影就是由各种美学元素所结合形成的，所以说要拍好一部电影就要合理利用好各种元素，让他们共同为影片的主题效劳。而且除了这些画面语言外，你还要把握好解说词、背景音乐与画面的结合。在各种元素的结合方面需要尤其注意，电影就是结合的艺术，画面组接艺术、声话搭配艺术等。我一直相信做片子做主要的一个东西就是节奏，节奏的艺术。被称为鬼才导演的王家卫曾说过他就是再按音乐来拍摄影片。我们也可以从他的把戏年华、旺角卡门里看出他所追求的音乐，其实他不是按音乐来
2、拍而是他借助音乐的节奏去把握整个片子的节奏。这种运用尤其在他的把戏年华里表现的最为明显，也最为经典。例如在该片十四分四十七秒处持续了两分十三秒的音乐与画面的完美结合。而且这段音乐被反复用了很屡次，让观众感到的不会是繁琐而是一种很舒服的莫名的感觉，这无疑是王家卫音乐与画面完美结合的经典案例。电影总是会遵循一定的规律，在对于不同的表达元素有遵循着不同的规律。人的表达有很多种，有些人愿意用一个一个的小故事、有些人愿意用严密公正的逻辑，有些人不愿意用语言而用行动表达，但相同之处在于我们都想让别人懂得我们的表达。而我们每种表达都有一定的内在规律，更何况我们即将要聊到的纪录片中的画面语言表达规律。纪录片要
3、求创作者直面客观现实，从现实中提取素材，进行非虚构的加工制作，最大限度的复原客观现实的本来面目。1纪实纪录片最大的不同在于它独特的拍摄内容和独特的拍摄风格，而这些东西的最终表现是出现在画面中的各种语言元素。在光影的运用上它对自然光和人工铺设的光有什么选择标准？为什么自然光的运用居多？是条件限制还是场景需求？等等这些细节元素都需要我们将实践和经典理论结合，努力摸清其中的门道。下面我会和大家聊聊我眼中的经典影片中经典画面的各种表现元素，并以自己的亲身实践来说明。关键字：光影；构图；镜头运动AbstractSome people say that the film is the art of lig
4、ht and shadow, some people say that the film is the aesthetic structure of the line, there are people who say that the film is the art of color, they say there is wrong All right! Film is formed by the combination of a variety of aesthetic elements, so that to make a good film to make good use of a
5、variety of elements, so that they work together for the theme of the film. In addition to these picture language, you have to grasp the combination of commentary, background music and pictures. In combination with the various elements of the need to pay particular attention to the film, is a combina
6、tion of art, art, sound and picture connecting words collocation art etc.I have always believed that the main thing to do is to do the rhythm, rhythm art. Known as the genius director Wong Kar Wai said that he is in film music. We can also see from his mood for love, Carmen in the pursuit of his mus
7、ic, in fact, he is not by the music to shoot but he with the rhythm of the music to grasp the rhythm of the entire film. This application, especially in his mood in the performance of the most obvious, but also the most classic. For example, in the film fourteen minutes and forty-seven seconds for t
8、wo minutes and thirteen seconds of the perfect combination of music and pictures. And this piece of music has been repeated many times, so that the audience will not feel cumbersome but a very comfortable sense of inexplicable, which is undoubtedly the perfect combination of music and pictures of th
9、e classic case of Wong Kar Wai.The film will always follow a certain law, in the different elements of the expression to follow a different law. The expression has many kinds, some people are willing to use a little story, some people are willing to use strict justice logic, some people do not want
10、to use language and express action, but the common is that we all want to let others know our expression. And each of our expressions have a certain inherent law, not to mention we are going to talk about the documentary film in the language expression rules. Documentary requires creators to face th
11、e objective reality, from the reality of the material extraction, non fiction processing production, the maximum reduction of the objective reality of the true colors. The biggest difference between the 1 documentary film is its unique content and unique style of shooting, and the final performance
12、of these things is in the picture of the various language elements. In the use oflight and shade on the natural light and artificial laying of light what are the selection criteria Why is the use of natural light in the majority Is it a condition or a scene And so the details of these elements need
13、us to practice and classic theory, trying to find out the doorway. Below I will talk to you in my eyes, the classic film in the classic picture of the various elements of the performance, and in their own practice to illustrate.Keywords:Light and shadow; Composition;Lens movement目 录TOC o 1-2 h u 摘 要
14、 IAbstract II目 录 IV引 言 1一研究现状和意义 1二研究方法和创新之处 1一、纪录片画面语言中唤醒观众视觉感知的要素光影 1一光影解析 1二光影的形式 2三光影的功能 2二、纪录片画面语言中的取舍美学构图 7一三分法构图井字构图法 7二水平线构图、对角线构图 8三框架式构图 10四会聚线构图 10三、纪录片画面语言中充当观众眼睛的角色镜头运动 11一给予观众第一现场感的手持镜头 11二调节纪录片节奏的空镜头 14三给予观众反思空间的固定镜头 15四时间的特写快慢镜头 16结 语 17参考文献 19引 言一研究现状和意义在当下这个新媒体时代，各种传播方式、传播手段纵横于亿万网民
15、的舞台时，纪录片的处境不容乐观。我们在生活中经常会听到的是“最近有什么新的电影？、“哎！我给你说我发现了一个超级好看的综艺节目！。而不是“你最近有什么好的纪录片可以推荐啊？，如果有那紧接着的一句话就是“好久没有看了。我在这里并没有贬低其它表现形式的意思，也没有说纪录片没有受众的意思。毕竟每一种事物的存在都有它的道理，但不同的表达当然也会分出一个“三六九等，只是说人的需求没有等级划分而已。人们有对奔跑吧！兄弟、奇葩说、康熙来了的欢乐需求，也有对海豚湾、印度的女儿这类沉重话题的关注。但不知为何，各大平台首推的永远是那些相对而言的快餐文化产品，而将沉重而现实的产品放在一边。那么既然人们不拒绝纪录片，
16、媒体人也较为理性，那纪录片没有市场的缘故只能是制作者的问题了，至少绝大数因素。而在纪录片中最为主要的就是画面语言，我愿意为了更清楚的了解认识纪录片而去拍一部纪录片。我希望这个过程可以让我明白各种画面语言在纪录片中的具体作用和效果。我将会特别注意光影、构图、镜头运动这些画面语言在影片中的运用。虽然本文说的几个面都不较大，但我一直认为一个艺术品以单一的因素去解释它都会失色不少。而且我也只是从每一大的要素中切出一块小的点去分析。我相信这样的研究方法即能把问题说清楚，又不失整体的考虑，也一定会为之后的实践找出一套合理有效的经验之谈。二研究方法和创新之处首先，对我从各种渠道获取的关于画面语言的运用理论进行大胆的实践，进而进一步丰富和整理出一些运用规律。其次，选题会采用案例分析、理论分析、实践研究法等研究方法结合在一起
