【作者】 王妍丹；

【导师】 麦永雄；

【作者基本信息】 广西师范大学 ， 比较文学与世界文学， 2012， 硕士

【摘要】 视觉文化研究由来已久。从1913年匈牙利电影理论家提出“视觉文化”的概念到现在,视觉文化研究已经历经了百年的历史。视觉文化的概念是从电影诞生这一现象中萌生出来的,然而在电影研究方面,根据这一理论探究电影的视觉性特点的却为数不多。自从“景观电影”概念提出之后,视觉文化研究在电影研究领域逐渐凸显出来。“景观电影”是相对于“叙事电影”而言的,它在当前的电影市场中颇为突出,如现在风靡全球的3D景观电影。它建立在数字技术基础上、具有新奇影像、富有强烈视听冲击力的特点。本文以当前热播的景观电影为研究对象,特别是风靡全球的好莱坞3D电影,借鉴国内外比较热门的视觉文化研究理论与景观电影研究理论方法,探究景观电影在新的研究领域下的图像性、神话性以及技术性特点,揭示其丰富蕴含与意义。论文主要由五个大部分组成,引论着重对视觉文化与景观电影进行系统介绍,并在此基础上论证从视觉文化角度研究景观电影的可行性,以及视觉文化与景观电影的国内外研究现状。第一章主要论述景观电影在新的文化时代下彰显的图像化特点,以及由此而导致的电影重心转移问题以及在具体影片中的体现。第二章主要解析景观电影的神话性特点。景观电影为了达到视觉效果最大化而运用了众多神话因素,使景观电影更具观赏价值与浪漫色彩。第三章则解读景观电影的技术性特点,技术手段在景观电影发展中已经运用到了极限,通过探讨技术手段对电影的具体运用,体现出景观电影由技术堆积与创造的特点。结语认为：从文化研究角度来看,电影研究不是一个封闭自足的系统,电影研究同样也可以从各种维度来进行,文化维度是其中一个较为重要的维度,而从文化研究角度来研究景观无疑为我们提供了一种新的观照视野,能使我们得以更加认识景观电影的价值和意义。更多还原

【Abstract】 The studies of visual culture have had a long history. Since the proposal of the concept of "visual culture" by the Hungarian film theorist in1913, the studies of visual culture have gone through a history of one hundred years. The concept of visual culture sprouted from its first appearing in the film. However, in the field of film studies, the exploration of the film’s visual characteristics based on this theory is not that much. Since the putting forward of the concept of "landscape film", visual cultural studies gradually become prominent in the field of film studies. Compared to "Narrative Cinema", landscape film is quite prominent in the current film market, for example, the now world-wide popular3D landscape film. Landscape film is the kind of film built on the basis of the digital technology, with novel image, full of strong audio-visual impact. The paper will take the current popular landscape film as the objects of study, especially the world popular Hollywood3D movies, draw on popular visual culture research theory and landscape film research theory home and abroad, explore the image, myth and technical characteristics of landscape film in the new areas of research and reveals its rich implication and significance.The paper is mainly divided into five parts. The introduction focuses on the definition of visual culture and landscape film, demonstrates the feasibility of the study of landscape film from the angle of visual culture, and presents the current research situation of the visual culture and landscape films home and abroad. The first part discusses the image characteristics of the landscape film in a new cultural era, and the shift of films focus caused by it, as well as a manifestation of landscape films in the specific films. Part two mainly presents the myth characteristics of landscape films. Landscape film uses many myth factors to achieve the maximization of visual effects, making the landscape film more ornamental and romantic. Part three interprets the technical features of the landscape film. The technical means have been used to the limit in the landscape film development. By exploring the specific use of technical means in the films, landscape film reflects the features of technology accumulation and creation. The last part is a conclusion. From the point of view of cultural studies, film studies are not a closed self-contained system. Film studies can be carried out from a variety of dimensions. From the perspective of cultural studies, it undoubtedly provides us with a new vision of contemplation, and thus enabling us to become more aware of the value and significance of landscape films.更多还原