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作者 : 汪方華
總數: 1
現代電影:極致為美--後新浪潮導演研究
作者
汪方華
分類號
C3.3.2 019
出版社
中國傳媒大學出版社
主題
語言與文化、媒體
註釋
現代電影:極致為美,後新浪潮導演研究 20世紀70年代後的現代電影是屬於我們這個時代的藝術!它在電影理念、電影結構、電影敘事、電影形式等各個方面呈現出巨大的差異,產生了不少具有大師氣質的“主流導演”:美國的斯皮爾伯格、卡梅隆,法國的呂克•貝松,西班牙的阿爾莫多瓦,波蘭導演基耶斯洛夫斯基,希臘的安哲普洛普斯,意大利的托納托雷,俄羅斯的米哈爾科夫,丹麥的拉斯•馮•提爾,芬蘭的阿基•考利斯馬基,還有伊朗的阿巴斯、賈法•帕納西,日本的北野武,韓國的金基德、李昌東,越南的陳英雄,中國香港和臺灣的王家衛、吳宇森和蔡明亮等極具活力的後新浪潮導演。他們的作品均表現出強烈而鮮明的個人風格。也許,從電影語言入手逼近現代電影的創作理念、美學原則是一條直接的道路。 目錄 序 第一章“現代電影”——界定之難 一、“現代電影” 二、“現代電影”與“主流電影” 三、現代電影——後新浪潮導演的“作者電影” 第二章 現代電影語言 一、電影就是電影 二、戰後的電影語言研究 三、電影美學研究的再度嘗試 第三章 現代電影本體卿——被表現的真實 一、真實之維 二、被表現的真實 三、被表現的真實——現代電影本體觀 第四章 極致為美——現代電影美學原則 一、故事和故事的講述 二、影像中心的美學 三、現代電影美學——個性原則 四、現代電影美學——感性原則 五、現代電影美學——奇觀化原則 第五章 現代電影的敘事 一、電影敘事的相關概念 二、好萊塢經典敘事體系 三、片中片 四、現代電影的敘事迷宮:交叉小徑的花園 五、現代電影敘事的速度、深度、特徵 第六章 後新浪潮導演研究 呂克•貝松:一位現代的電影“作者”? 大衛•林奇:夢、歌、舞臺、局外人 科恩兄弟:幽默怪誕走向崩潰的犯罪故事 奧利弗•斯通:主流電影之外的主流導演 現代性的誘惑——《不準掉頭》和《天生殺人狂》的比較研究 朗•霍華德:類型電影的實踐者 《美麗心靈》:命運的風景 阿爾莫多瓦電影的慾望、激情 後庫斯圖裏察時代的“巴爾幹電影” 《無主之地》:生命不能承受之重 柏林墻——民主德國政治題材影片的一個胎記 《竊聽風暴》:一幕關於拯救的通俗劇 北野武的“削落美學” 陳英雄——有關越南的記憶、想像、凝視 《三輪車夫》:重建一個愛與痛交織的世界 金基德:現代荒原中的罪與罰 侯孝賢、楊德昌、蔡明亮的台北故事 臺灣新電影中的台北和從未缺席的“中國” 後記