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论文作者:英语论文论文属性:本科毕业论文 Thesis登出时间:2011-08-16编辑:anterran点击率:2618
论文字数:2284论文编号:org201108161115089072语种:英语 English地区:中国价格:$ 55
关键词:S EisensteinAttraction MontageViolence Aesthetics暴力美学蒙太奇
摘要:2类型的暴力美学与吸引力蒙太奇-Two types of Violence Aesthetics derived from Attraction MontageKey words: S.Eisenstein, Attraction Montage, Violence Aesthetics
Two types of Violence Aesthetics derived from Attraction Montage
By *****
From **** University
Summary: Formed in 1920’s, the theory of Attraction Montage emphasizes the authority of the author’s purpose; as a very important film theory and method, it has aroused a new art form: the Violence Aesthetics in modern time. During the course of its evolvement, Violence Aesthetics varies from the core thinking of Attraction Montage, trends to develop with duality. Combined with some other works, this article deals briefly with the developing tracks and the connotation of the two types of Violence Aesthetics derived from Attraction Montag.
Key words: S.Eisenstein, Attraction Montage, Violence Aesthetics
I. Attraction Montage and its key thinking
Montage is a main arena for the film aesthetics. In 1923, Eisenstein brought forward:” a new method —— to combine the randomly selected, independent (still acting apart from the established structures and narrative scenes) impressive means freely, but with a specific objective, namely to achieve a certain final subject effect, this is Attraction Montage”. <1>p425, In practice, two shot elements without any necessary logical relation in time and space are spliced to form new images to create the film text with a giant visual impact and clear expression so as to show the director’s ideas. The juxtaposition of the two different film elements doesn’t just turn out the same effects as A plus B or A times B, but create a new unknown —— the new concepts and characters; for example, in the film October, Eisenstein matched the shots of Kerensky to that of a mechanical peacock with clockwork to show Kerensky’ vainglory and his condition being controlled; and in his maiden work the strike, the shots of over 1,500 dead people and that of the killed cattle with blood dripping out of their throats in a slaughterhouse were inserted reciprocally to present the cruelty of the killing, making a great impact and enduring impression on the audience.
Reference books:
<1> S.Eisenstein (Russia), on Montage, China Film Press, 1999
<2> Jean Mitry(France), The Psychology of Montage, film art translations,1980
<3> AndreBa-zin (France), What is the Movie, China Film Press, 2005.5
<4> Вейцман Евгений Михайлович (Russia), Очерки философии кино, China Film Press, 2000.12
<5> S.Eisenstein (Russia), the Principles of the Film in New Russia, China Film Press, 2000
<6> Nick Browne (US), On the History of Film Theory, China Film Press, 1994
<7> S.Eisenstein (Russia), Nonindifferent Nature, China Film Press, 2003.9
<8> Haojian (China), The New Discussing on The Montage of Attraction, Contemporary Cinema, 2002.5
<9> Guido Aristarco (Italy), the History of the Film Theory, China Film Press, 1992
<10> Ждан,B (Russia), the Aesthetics of the Films, China Film Press, 1992本论文由英语论文网提供整理,提供论文代写,英语论文代写,代写论文,代写英语论文,代写留学生论文,代写英文论文,留学生论文代写相关核心关键词搜索。