摘要
电影起源于现代都市巴黎,它与现代城市都是现代科技发展的产物,电影与城市的相遇建立了一种共同节奏,呼应着时代的律动。城市交响曲是电影遭遇城市的产物。城市交响曲电影表达的不是普通的城市生活,而是城市的现代节奏:火车、汽车转动的轮子,旋转的机器,钢筋、玻璃建筑,速度、节奏与运动的交响。节奏感、形式感、运动感建立起城市交响曲电影的突出特征。《尼斯景象》则洗劫了未来主义的机器激情,代之以社会观察,但保留了城市交响曲电影的形式:节奏、动感和先锋艺术表达方式。
Movie originates from Paris, a modern city, both of which are products of modern science and technology. So the encounter of movie and city constitutes a corresponding rhythm, which accords with the cadence of the time. City symphony is a product when movies encounter cities. And what the city symphony movies express is not ordinary city life, but the cities＇ cadence of the time： trains, motor wheels, running machine, steel, glass buildings, velocity, rhythm, and motion symphony. Senses of rhythm, of form, and of motion contribute to the striking characteristic of city symphony movies, such as Ruttman＇s Berlin, Symphony of a City and Vertov＇s The Man with Movie Camera. And the film APropos de Nice destroyed the machine passion of futurism, but replaced it with social observations, with the form of city symphony movies maintained： rhythm, sense of motion, and the artistic expressions of vanguard.
出处
《北京师范大学学报（社会科学版）》
CSSCI
北大核心
2007年第4期109-112,共4页
Journal of Beijing Normal University(Social Sciences)
