摘要
《南方车站的聚会》延续黑色电影的视觉风格,影片场景大量、分散且70%为夜景拍摄,这不仅是导演刁亦男和摄影指导董劲松在《白日焰火》(2014)后的影像工业化升级,影片真切细腻又极富黑色张力的画面承载着两人17年来对黑色类型的影像思索和形式创新,为作者性与类型化的创作平衡提供了宝贵经验。本文以影片影像造型的创作理念和制作技巧为基础,分析其在黑色电影视觉风格上的传承与创新,探寻形式感背后的美学观念。
Wild Goose Lake draws upon the visual style of Film Noir.Its strong and vivid atmosphere creates interest for the viewer.There are many scenes scattered around the city of Wu Han,70%of which are designed for nights.After their last film Black Coal,Thin Ice,Director Diao Yinan and the Director of Cinematography Dong Jinsong cooperated to upgrade the quality of images in response to Chinese film industrialization.Based on their innovation in modeling the images of film noir during the past 17 years,their creation for Wild Goose Lake provides valuable experience for filmmakers seeking to balance authorship and genre.
出处
《电影艺术》
CSSCI
北大核心
2019年第4期138-143,共6页
Film Art
关键词
黑色电影
视觉风格
空间角色
异托邦
表现主义
film noir
the visual style of film noir
role of space
heterotopia
expressionism
