【作者】 黎东白；

【导师】 单万里；

【作者基本信息】 中国电影艺术研究中心 ， 电影学， 2010， 硕士

【摘要】 作为一位重要的日本新浪潮导演,敕使河原宏(勅使河原宏)在我国以往的电影研究中没有得到相应的重视。因此,对敕使河原宏本人及其作品进行介绍与研究十分必要。他的影片风格独特,深受存在主义哲学思潮与超现实主义艺术观念影响。此外,他是从纪录片转向故事片的,其纪录片的非现实性为其故事片的超现实主义风格奠定了基础。相较日本新浪潮时期的很多导演,敕使河原宏彻底脱离了大制片厂体制,从始至终坚持独立制片,还开创了ATG发行放映日本本国影片的先河,为后来的日本新浪潮影片在本国放映开拓了空间。与此同时,他以影片《砂之女》夺得戛纳电影节评委会大奖,为日本导演在国际上获得认可开拓了新思路。敕使河原宏在国际影坛上的成功一方面是因其电影中表现出来的时代性主题,另一方面也是因其制作策略上的改变。本文主要从敕使河原宏的创作轨迹入手,以他在新浪潮时期创作的最具有代表性的影片《陷阱》、《砂之女》、《他人之颜》等为文本,从影片主题、影像风格及其影片的国际性等角度,探究其自身独到的导演创作风格与拍摄思路,研究与介绍这位在我国相对陌生的日本新浪潮电影导演,同时为我国今后的电影创作提供一种“既是世界的,又是民族的”电影创作思路。更多还原

【Abstract】 Teshigahara Hiroshi is a very important director in Japanese New Wave Cinema, the introduction and research of him and his films are so necessary, because he is not considered to be important.His film style is unique, influnenced by the existentialism and surrealism. He has been worked from documentary to feature film. Especially, irreality in his documentaries laied the root for the style of surrealism in his feature films. He insists on the independent production from beginning to the end, and creates a precedent of screening national films in ATG. Furthermore, in 1965, Woman in the Dunes (1964) was nominated for an Academy Award and won the Special Jury Prize at the Cannes Film Festival. The reason of his success has two sides, on one hand, his films reveal the theme of temporal spirit, on the other hand, his strategies of film production has been changed.The thesis mainly trace his film works, focus on his most important films:The Pitfall, Woman in the Dunes and The Face of Another. In the part of discussing these films, the thesis tries to analyze the theme, style and international of these films. And it will provides the idea of both the international and national to the film making.更多还原