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与北京电影学院摄影系的前辈校友相比,新生代的曹郁出道时间不长,但他却以其独特的影像风格追求,在当代中国电影摄影师的序列中占据了一席之地。从阴郁的《可可西里》到阳光下的黑暗之城《南京!南京!》,曹郁逐渐形成并完善了光线、色彩和摄影机运动也是演员的摄影创作观念,这一创作观念是基于他电影摄影师本质上是视觉魔术师的电影理念的,他用神性之光挥洒诗意,用在场的摄影机传递真理的印象,因此我们说曹郁的摄影机撒谎,但他的摄影机讲述真实的谎言。
Compared with his predecessors in the Department of Photography of Beijing Film Academy, the younger generation Cao Yu did not make a long debut. However, he pursued his unique style of imagery and occupies a place in the sequence of contemporary Chinese cinematographers. From gloomy “Hoh Xil” to the dark city of Nanjing “Nanjing!” In the sunshine, Cao Yu gradually formed and perfected the notion of light, color and camera movement that is also an actor’s photography creation. This creative concept is based on his cinematographer Is essentially a visual magician’s film idea. He used the light of divine light to poeticity and used the presence of the camera to convey the impression of truth. So we say that Cao Yu’s camera is lying, but his camera tells a true lie.