【作者】 项仲平；

【导师】 朱栋霖；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2008， 博士

【摘要】 本论文以影视艺术中的影像叙事作为研究对象,通过这种研究,试图从学理层面和技巧操作层面更好地把握影视艺术的规律。电影电视剧怎样讲故事,电影电视剧的画面如何通过影像来叙述和呈现人生与人性、展示故事和情节、表现丰满的人物形像等,往往决定了一部电影电视剧的成败。然而,对影视叙事理论的了解和把握,会让影视人变得更睿智、更敏感,更懂得读解与阐释。这即是论文作者写作的旨意所在,亦是本文写作的内在追求。正是基于这一认识,本文择取影像叙事作为探讨影视创作的切入口,以期获得对影视叙事艺术更深的认识。对此,奠定了本论文的学理价值和影视剧创作的现实意义。这一研究简要梳理了叙事学研究的缘起和影视叙事理论,阐释了文学文本的故事与影像故事、影像故事与叙事、故事情节与叙述等几对概念。着重探讨用影像元素和影像的叙事法则来叙述故事和情节的有关问题。概括起来讲,讨论了电影电视剧的虚构叙事,也就是要探讨电影电视剧的影像是如何通过图像、声音与时间及空间的结合来叙述故事的,如何运用影像表义和声音的魅力以实现其故事的叙事意图;它的时间叙事安排的主要层次与功能,空间叙事呈示的特征及影像展开叙述的方式与常见的叙述模式,这些构成了本论文论述的基本框架。具体地讲:第一和第二章简述叙事学研究的缘起和影视叙事理论,指出影像叙事研究的基本对象虽说涉及叙事本文,但更多的是通过具体的影像元素和影像的语言及手段去建构叙事作品,并从言语一镜头、故事和表层结构中,去寻找构成影像语言、影像语法和深层影像结构的要素,探讨其构成机制——结构形式和图像、声音及时空的叙事规律。并在此基础上,论述了文学和电影电视剧影像作品的叙事构成元素与叙事方式的不同及电影和电视剧影像叙事的联系和区别。第三章着重探讨影像叙事中的图像叙事,首先论述了影像叙事的图像构成要素和影像叙事的图像表义作用,蒙太奇的结构形式和语法规则以及蒙太奇叙事句式,紧接着进一步论述叙事蒙太奇叙事手法:(1)线性(连续)蒙太奇叙事手法;(2)平行蒙太奇叙事手法;(3)交叉蒙太奇叙事手法;(4)重复蒙太奇叙事手法:(5)其他蒙太奇结构形式。最后,论述了场面调度和法国电影理论家安德烈·巴赞长镜头理论也是一种影像的叙事手法的观点,指出场面调度也是影像的一种叙事的手段。第四章主要论述影像叙事中的声音叙事,在指出声音是影像叙事的重要要素基础上,论述了声音叙事的优势和作用,认为声音最根本的作用是增强了画面的现实感和声音参与画面的叙事。本章的最后论述了音乐和音响在影像叙事中作用和它们作为叙事的要素是如何发挥叙事作用,指出音乐是一种有规律的声音系统,具有很强的感染力和叙事功能。当音乐参与影视作品的叙事活动,作为具体影像作品的构成要素和表现手段时,它将改变自身原有的地位和作用,而从属和服务于所参与的影像作品的叙事过程,成为构成该节目的一个组成部份。第五章论述影像叙事时间,指出叙事时间是影像叙事学中的一个基本问题,叙事的功能之一是把一种故事时间兑现为另一种时间影像文本的时间。电影电视剧的影像叙事时间畸变是由于空间因素的渗透而变得为复杂。时间是理解电影电视剧影像叙事特性的一个十分重要的概念,电影电视剧的时间叙事结构形式、时间叙事的方式与审美特征都与时间相联系。在这章中首先论述了影像的时间叙事的基本形态,从而进一步指出故事时间、叙事时间(情节时间)和放映时间,这三种时间形态构成了不同的电影电视剧话语时间,它们具有不同的特征与功能,然后论述了时间叙事的三个重要问题,即电影电视剧影像的叙事时序特征、叙事时序结构和时间叙事时序方式。第六章对影像叙事的空间问题进行论述,指出在影视艺术中,空间与时间一样同样有着无限的艺术魅力,空间与时间一同完成活动影像的叙事,时间的流变和空间的转换,在电影电视剧的叙事中有着无穷的潜力。这种无穷的潜力就在于片断的画面,依靠剪辑技巧构成完整的时空复合体,创造一种非连续的连续性叙事画面,这些画面又以整体展现了故事的叙事功能,影像的空间叙事成为主要叙事手段。对此,着重论述了空间叙事的特征,并在上述空间叙事特质分析的基础上,论述了影像的叙事空间的构成。最后论述了影像叙事的空间是体现人类艺术创造力的空间论点,揭示出影像冲击力上讲空间感永远比时间感突出的观点。更多还原

【Abstract】 This paper is concerned about image narration in movie and TV arts. By doing the study, we are trying to grasp the laws of image narration in movie and TV arts both theoretically and practically.A movie or TV show’s success, to a large degree, is decided by how it tells the story, and how its frames present life and humanity, manifest story and plots, and demonstrate well-round portrayal of characters. However, a grasp of theories of narration makes people in movie and TV circles wiser, more sensitive, and guarantees them a better interpretation of movies and TV shows. This is what our purpose is and what we are pursuing. And this is why we choose image narration as our point of penetration. We hope to achieve a better understanding of movie and TV arts. The theoretical value and the practical significance of movies writing are hereafter founded in this dissertation.The present study gives a brief review to the theories of narration and explains several pairs of concepts, such as, textual story vs. visual story, visual story vs. narration, and plots vs. narration. It focuses on issues of telling story and displaying plots with visual elements and image narration principles. Generally speaking, this paper discusses narration of imaginative stories, that is, how images in movies and TV shows tell stories with a combination of images, sound, time and space. It also deals with the levels and function of chronological narration, features of special narration, and patterns of image narration, of which this paper is composed. To be specific, this paper is arranged as follows:Chapters One and Two give a brief introduction to the origin of narration studies and theories of narration in movies and TV shows, and indicate that narrative texts are a part of the subject of image narration studies. However, image narration studies more involve constructing narrative works through specific visual elements, visual language, and visual methods. They are aimed at seeking elements that comprise visual language, visual grammar, and deep visual structure, and discussing their mechanism—constituent forms and images, laws of chronological and special narration, from langue—shots, story, and surface structure. Based on the above, these two chapters also discuss the differences between textual narration in literary works and image narration in movies and TV shows, and the relationship and differences between movies and TV shows.Chapter Three focuses on visual narration in image narration. To begin with, this chapter deals with the image elements and the sense function of visual narration, constituent forms and grammar rules and narrative syntactic construction of montage. It then discusses narration methods of montage: (1) linear (continuous) narration, (2) parallel narration, (3) cross narration, (4) repeated narration, and (5) other narrations. Last, this chapters discusses location management, a visual narration method as well, and the view of Bazin, a French movie theorist, that long shot is also a narration method.Chapter Four is devoted to audio narration in image narration. After indicating that audio narration is a major element in image narration, this chapter deals with the advantages and functions of sound narration, and it further believes that the fundamental function of sound is to strengthen the reality of frames, that sound creates rhythm of frames, and that sound make soundless frames a stylized method. The latter part of this chapter discusses the functions of music and sound in narration and how they work in narration. Music is a sound system with regular patterns, and has a strong appeal and narrative function. When involved in television broadcasting, and as an element and technique of expression of a specific video work, music will change its own position and functions before it reduces itself to a subordinate position of being a part of the work and serves it.Chapter Five elaborates time of image narration. Time of narration is a basic issue in image narration studies. One of the functions of narration is to change the time in a story into the time in the visual text. And the change of time of narration gets complicated because of the participation of special elements. Time is an important element to understand the features of image narration in movies and TV shows. Forms and patterns of chronological narration, and aesthetic features in movies and TV shows are all related to time. This chapter first deals with the basic patterns of chronological narration, and further indicates (l)time of story, (2) time of narration (plots), and (3) time of screening. These three different times make the different times of utterances, and they have different functions. This chapter then discusses three important issues of chronological narration: features of chronological narration of movie utterances, structure and patterns of chronological narration.Chapter Six addresses special issues in image narration. This chapter indicates that, in movie and TV arts, time and space equally have boundless artistic attraction. Once the narration is finished, chronological and special change will have limitless potential in narration of movies and TV shows. And the potential lies in that discontinuous frames with editing skills comprise a complete whole and creates a continuous continuity, while frames as a whole manifest a function of narration with special words as its main language medium. This chapter first focuses on the features of special narration and then discusses the constituents of special narration. Last, it deals with the proposition that space in visual narration reflects artistic creativity of human beings, and that a sense of space is far more striking than a sense of time in terms of visual impact.更多还原