最好的时代已经到来——欧美语境下的3D电影评论
摘要
本文简要回顾了3D电影从20世纪二三十年代初创到五十年代一度繁荣,再到2009年《阿凡达》开启"新3D电影元年"后的发展历程,以及基于3D电影产生的美学探讨。当代3D电影美学的建立主要是围绕《阿凡达》开始的。它的出现为电影空间和观影方式带来了革命性的转变。除了商业制作,3D技术也渗入到经典艺术电影当中,为艺术电影提供了新的美学可能。
引文
(1)具体描述见:Ray Zone.Stereoscopic Cinema and the Origins of 3-DFilm,1838-1952.University Press of Kentucky(December 7,2007),p.29.
(2)同(1),第97页。
(3)大卫·肯《论3D电影技术的发展:从〈博瓦纳的魔鬼〉到〈阿凡达〉》,《南京师范大学文学院学报》2013年第3期,第2页。
(4)转引自Owen Weetch:Expressive Spaces in Digital 3D Cinema,Palgrave Macmillan Press,2016,第3-4页。其中,爱森斯坦的原话为:“doubt that stereoscopic cinema has its tomorrow is as na ve as doubting whether there will be tomorrows at all.”巴赞认为:“one should not count on a victory for stereoscopy in the war of 3-D.”
(5)现在看来,《蜡像馆》属于当时3D电影的上乘之作。不仅制作专业,3D效果和环绕音响也与剧本配合得恰到好处。见R.M.Hayes:3-D Movies:A History and Filmography of Stereoscopic Cinema,McFarland&Company Revised ed.edition(October 1998),p.215.
(6)The Aesthetic and Narrative Dimensions of 3D Film:New Perspectives on Stereoscopy,Springer-Verlag Press,2015.p.20.
(7)(8)同(6),第21页。
(9)Ray Zone.History of Modern Stereoscopic Cinema.University Press of Kentucky;1st edition,July 6,2012.p.76-77.
(10)Lenny Lipton,“The Last Great Innovation:The Stereoscopic Cinema”,Motion Imaging Journal,published by the Society of Motion Picture and Television Engineers(SMPTE),2007 November issue.
(11)“You see it without glasses”逐渐成为3D和宽银幕电影评论话语中重要的引用。
(12)关于影片上映前后的风波,详见Bob Furmanek and Greg Kintz:An In-Depth Look at DIAL M FOR MURDER,http://www.3dfilmarchive.com/dial-m-blu-ray-review。
(13)(14)“3D Looks Dead in the United States.”Variety headline,May 26,1954.http://www.3dfilmarchive.com/dial-m-blu-ray-review。
(15)The Aesthetic and Narrative Dimensions of 3D Film:New Perspectives on Stereoscopy.Springer-Verlag Press,2015.p.21.
(16)Ross,Miriam.“The 3-D aesthetic:Avatar and the hyperhaptic visuality,”Screen,2012,December.
(17)2015年,罗斯还根据这篇文章发展出了一本讨论3D电影美学的专著--《3D电影:视觉幻象与触觉体验》(3D Cinema:Optical Illusions and Tactile Experiences)。两者基本观点大致类似。本文具体讨论的是罗斯在2012年发表的文章。
(18)Cahiers du cinéma,2009,juillet-aot,p.8-9.
(19)同(18),第29页。
(20)同(18),第13-16页。
(21)同(18),第16-19页。
(22)同(18),第22-24页。
(23)Kermode,Mark.“No your eyes aren't deceiving you-3Dreally is a con”,https://www.theguardian.com/commentisfree/2010/apr/11/3d-avatar-hollywood.
(24)Ebert,Roger.“Why I hate 3D(and you should too)”,http://www.newsweek.com/roger-ebert-why-i-hate-3d-movies-70247.
(25)Hopewell,John.eslassy,Elsa.Variety.New York,N.Y.418.13.(May 10,2010-May 16,2010):A16,A20,A22.
(26)Elsaesser,Thomas.“The‘Return’of 3-D:On Some of the Logics and Genealogies of the Image in the Twenty-First Century”.Critical Inquiry 29(2):217-246.
(27)Purse,Lisa,Digital Imaging in Popular Cinema.Edinburgh University Press.2013.
(28)Jones,Nick.“Variation within Stability:Digital 3D and Film Style,”Cinema Journal,Volume 55,Number 1,Fall 2015.
(29)Klinger,Barbara.“Cave of Forgotten Dreams:Meditations on3D”.Film Quart,Vol.65 No.3,Spring 2012.p.38-43.
(30)James,Nick.Sight and Sound,London 21.5(May2011),p.21-24.
(31)Badiou,Alain.L’Art du cinéma,Paris 84-86(Spring2014),p.151-160.
(32)Lê,Corentin.près Un Grand voyage vers la nuit de Bi Gan,Dans le Noir du temps.源网址:https://www.fichesducinema.com/2018/05/un-grand-voyage-vers-la-nuit-de-bi-gan/。
(33)Chessel,Luc.Heureux qui comme Bi Gan a fait un beau oyage,源网址:https://next.liberation.fr/cinema/2018/05/15/heureuxqui-comme-bi-gan-a-fait-un-beau-voyage_1650330。
(34)Pahle,Rebecca.“Ten Years of Three Dimensions:The decade's finest moments in 3D,”Film Journal International;New York,N.Y.(Sep 2015),p.52-55.
(2)同(1),第97页。
(3)大卫·肯《论3D电影技术的发展:从〈博瓦纳的魔鬼〉到〈阿凡达〉》,《南京师范大学文学院学报》2013年第3期,第2页。
(4)转引自Owen Weetch:Expressive Spaces in Digital 3D Cinema,Palgrave Macmillan Press,2016,第3-4页。其中,爱森斯坦的原话为:“doubt that stereoscopic cinema has its tomorrow is as na ve as doubting whether there will be tomorrows at all.”巴赞认为:“one should not count on a victory for stereoscopy in the war of 3-D.”
(5)现在看来,《蜡像馆》属于当时3D电影的上乘之作。不仅制作专业,3D效果和环绕音响也与剧本配合得恰到好处。见R.M.Hayes:3-D Movies:A History and Filmography of Stereoscopic Cinema,McFarland&Company Revised ed.edition(October 1998),p.215.
(6)The Aesthetic and Narrative Dimensions of 3D Film:New Perspectives on Stereoscopy,Springer-Verlag Press,2015.p.20.
(7)(8)同(6),第21页。
(9)Ray Zone.History of Modern Stereoscopic Cinema.University Press of Kentucky;1st edition,July 6,2012.p.76-77.
(10)Lenny Lipton,“The Last Great Innovation:The Stereoscopic Cinema”,Motion Imaging Journal,published by the Society of Motion Picture and Television Engineers(SMPTE),2007 November issue.
(11)“You see it without glasses”逐渐成为3D和宽银幕电影评论话语中重要的引用。
(12)关于影片上映前后的风波,详见Bob Furmanek and Greg Kintz:An In-Depth Look at DIAL M FOR MURDER,http://www.3dfilmarchive.com/dial-m-blu-ray-review。
(13)(14)“3D Looks Dead in the United States.”Variety headline,May 26,1954.http://www.3dfilmarchive.com/dial-m-blu-ray-review。
(15)The Aesthetic and Narrative Dimensions of 3D Film:New Perspectives on Stereoscopy.Springer-Verlag Press,2015.p.21.
(16)Ross,Miriam.“The 3-D aesthetic:Avatar and the hyperhaptic visuality,”Screen,2012,December.
(17)2015年,罗斯还根据这篇文章发展出了一本讨论3D电影美学的专著--《3D电影:视觉幻象与触觉体验》(3D Cinema:Optical Illusions and Tactile Experiences)。两者基本观点大致类似。本文具体讨论的是罗斯在2012年发表的文章。
(18)Cahiers du cinéma,2009,juillet-aot,p.8-9.
(19)同(18),第29页。
(20)同(18),第13-16页。
(21)同(18),第16-19页。
(22)同(18),第22-24页。
(23)Kermode,Mark.“No your eyes aren't deceiving you-3Dreally is a con”,https://www.theguardian.com/commentisfree/2010/apr/11/3d-avatar-hollywood.
(24)Ebert,Roger.“Why I hate 3D(and you should too)”,http://www.newsweek.com/roger-ebert-why-i-hate-3d-movies-70247.
(25)Hopewell,John.eslassy,Elsa.Variety.New York,N.Y.418.13.(May 10,2010-May 16,2010):A16,A20,A22.
(26)Elsaesser,Thomas.“The‘Return’of 3-D:On Some of the Logics and Genealogies of the Image in the Twenty-First Century”.Critical Inquiry 29(2):217-246.
(27)Purse,Lisa,Digital Imaging in Popular Cinema.Edinburgh University Press.2013.
(28)Jones,Nick.“Variation within Stability:Digital 3D and Film Style,”Cinema Journal,Volume 55,Number 1,Fall 2015.
(29)Klinger,Barbara.“Cave of Forgotten Dreams:Meditations on3D”.Film Quart,Vol.65 No.3,Spring 2012.p.38-43.
(30)James,Nick.Sight and Sound,London 21.5(May2011),p.21-24.
(31)Badiou,Alain.L’Art du cinéma,Paris 84-86(Spring2014),p.151-160.
(32)Lê,Corentin.près Un Grand voyage vers la nuit de Bi Gan,Dans le Noir du temps.源网址:https://www.fichesducinema.com/2018/05/un-grand-voyage-vers-la-nuit-de-bi-gan/。
(33)Chessel,Luc.Heureux qui comme Bi Gan a fait un beau oyage,源网址:https://next.liberation.fr/cinema/2018/05/15/heureuxqui-comme-bi-gan-a-fait-un-beau-voyage_1650330。
(34)Pahle,Rebecca.“Ten Years of Three Dimensions:The decade's finest moments in 3D,”Film Journal International;New York,N.Y.(Sep 2015),p.52-55.