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色彩,作为一种视觉元素进入电影,是为了实现人们复现物质世界的愿望。但随着电影艺术观念的不断发展,电影色彩不再是以还原客观现实为目的的自然色彩,而成为“创作者手中的利器,或抒情,或表意,或象征,或拟讽,勾连呼应,统领全局,渗透出创作者独特的美学诉求和深厚的文化积淀,也使观者展开丰富的联想和思考,在具象画面的色彩构造中,领悟到抽象的艺术美感”。①作为泰国电影新浪潮旗手之一的韦西·沙赞那庭,充分挖掘色彩在银幕上的构成方式与表现手段,以独树一帜的电影色彩语言与色彩思维崭露世界影坛。其处女作《黑虎的眼泪》,以其惊艳四座的电影语言风格成为泰国第一部
Color, as a visual element, enters the movie in order to realize the aspirations of people to reproduce the material world. However, with the continuous development of the concept of cinematic art, cinematic color is no longer a natural color with the purpose of restoring objective reality, but rather a “weapon” in the hands of creators, or lyric, or ideographic, or symbolic, , Command the overall situation, infiltration of creators unique aesthetic appeal and deep cultural heritage, but also enable viewers to carry out a wealth of associations and thinking, in the concrete structure of the color picture, the realization of the abstract artistic beauty. ① As a new wave of Thai film singer Weishazanzhan court, fully tap the composition of color on the screen means and means of expression, with unique color of the film language and color thinking of the world film. His debut, “The Black Tiger’s Tears,” became Thailand’s first film genre with its stunning four-seat film language