电影的元素
- 书名：电影的元素
- 作者： 罗伯特·伯德
- 格式：AZW3,EPUB,MOBI
- 时间：2024-06-10
- 评分：8
- ISBN：9787305200038
内容简介：
在《安德烈•塔可夫斯基：电影创作的美学原则提供了一次全新的研究。
作者简介：
罗伯特・伯德（Robert Bird），芝加哥大学斯拉夫语言与文学系、电影的元素》。他所著的陀斯妥耶夫斯基的传记即将出版。伯德目前正在撰写一系列关于苏联文学与电影中比例模型的文章。
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独眼鲨丁霸权2019-12-04提供一种流于表面与杀死艺术之间的理论视野
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喜力2020-01-08强硬撑着看了一半，生气了！冒火！翻译实在是烂烂烂...
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tata2018-07-25老塔作品中的忧伤情绪，以及那种宗教、哲学、诗意元素，一方面受制于俄罗斯文化传统和苏联电影工业的特殊性，一方面又是来自内心的精神羁绊，所以他的片子同时具有民族性和世界性。书还行，感觉自己太没文化了，还是得多学习。
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Efkfra2012-09-17Sacrifice hearkens directly back to Turnabout in its use of sound; in both works the air carries the noise of seagulls and distant fog-horns both to place the narrative and, at the same time, to dissolve it within the greater natural and social world. Shot within a bird sanctuary during the mating season, Tarkovsky was insistent that no birds be audible; thus all of the sound was recreated in the studio and post-synchronized. The creaks of the house were reproduced by the sound engineer Owe Svensson in his own country cottage, who recorded each character’s gait by walking in an old house with various pairs of shoes, avoiding the use of stock sounds like the footsteps in Nostalghia. In addition to Bach, the soundtrack featured music of the Japanese bamboo flute and Swedish herd calling that...
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Efkfra2012-09-16Of course, Eugenia’s temptation to ‘surrender to the inertia’ of natural flows is inseparable from her hysterical resistance to it; this tension is at the heart of all of Tarkovsky’s characters and even his camera. Žižek proposes that Eugenia is protesting ‘not only against the hero’s tired indifference, but also, in a way, against the calm indifference of the static long shot itself, which does not let itself be disturbed by her outburst’.23 Tarkovsky had noted a similar effect in the scene of the blinding of the masons in Andrei Rublëv, where ‘[t]he impassibility and frigidity of the immobile camera only underscored the tragic nature of what was occurring, heightening its dramatism’.24 Indeed, the tension is stretched most taut not between Gorchakov and Eugenia per se, but between each o...
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Efkfra2012-09-16Each of Tarkovsky’s poems presents a single space within which three details are simultaneously present. Moreover, not all of the lines communicate single images; some describe motion or even sound within the same frame as the preceding line. The discrete action in each of Eisenstein’s haiku – the wolf howling or the butterfly flying – punctures a static background and is over. By contrast, in Tarkovsky’s first haiku it is the dynamic background that brings the foreground into motion, while in his second the movement is created by the narrowing of the aperture as the poem zooms in from the plant to the dewdrops suspended upon it.Tarkovsky shifts from sequential juxtapositions to what Eisenstein would call ‘vertical montage’ or juxtapositions between different planes within the shot or se...
常见问题：
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《电影的元素》对现代电影创作有何启示？
《电影的元素》启示现代创作者重视电影元素的协同作用，如塔可夫斯基般通过开放叙事与情感氛围打动观众。罗伯特·伯德指出，理解镜头、剪辑与声音的深层逻辑，有助于创新表达方式。书中案例鼓励创作者突破传统框架，将技术元素与艺术理念结合，推动电影艺术的持续演进与多样性发展。 -
书中对塔可夫斯基的哪些作品进行了重点分析？
《电影的元素》重点分析了塔可夫斯基的多部经典作品，如《安德烈·卢布廖夫》《镜子》等，探讨其开放叙事与忧郁氛围的营造。伯德通过这些案例，展示了塔可夫斯基如何通过镜头语言、声音设计及节奏控制，实现对电影艺术的独特贡献，强调其在世界电影史上不可替代的地位与深远影响。 -
《电影的元素》是否适合非专业人士阅读？
《电影的元素》适合非专业人士阅读，语言通俗易懂且案例丰富。罗伯特·伯德通过塔可夫斯基等大师作品，生动解释了电影元素如何运作，使读者无需专业背景也能理解电影艺术。书中内容兼顾理论与实例，能帮助普通观众提升观影体验，欣赏电影背后的创作智慧与美学价值。
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