李安电影美学风格研究
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摘要
李安导演对于电影美学的理解程度十分深厚,其电影的美学风格深深地根植于东方美学之上,中国传统文化更成为了他电影创作的基础和个人特色的来源。李安的电影包含着温柔敦厚、内敛含蓄的东方美学特色,也包含着西方美学对真理的再现及多元文化的展现。在电影的视听语言、人物特点以及留白与幽默性三个方面形成了自己独特的美学风格。
Director Ang Lee's profound understanding of the film aesthetics can be seen in his style of film deeply rooted in the Oriental aesthetics. Chinese traditional culture is the basis of his film creation, and the source of his film characteristics which is rich in both Oriental aesthetic features of gentleness, generosity and implicitness, and the Western aesthetics features of truth representation and multiculturalism. This aesthetic style is unique in the film audiovisual language, character characteristics, blank and humor.
Director Ang Lee's profound understanding of the film aesthetics can be seen in his style of film deeply rooted in the Oriental aesthetics. Chinese traditional culture is the basis of his film creation, and the source of his film characteristics which is rich in both Oriental aesthetic features of gentleness, generosity and implicitness, and the Western aesthetics features of truth representation and multiculturalism. This aesthetic style is unique in the film audiovisual language, character characteristics, blank and humor.
引文
[1] 冯友兰.中国哲学简史[M].北京:北京大学出版社,2013:251.
[2] 陈岸峰.武侠美学的传承、创新与驰想:《卧虎藏龙》与《英雄》的比较研究[J].北京电影学院学报,2005(4):32-39.
[3] 张靓蓓.十年一觉电影梦:李安传[M].北京:人民文学出版社,2007:138.
[2] 陈岸峰.武侠美学的传承、创新与驰想:《卧虎藏龙》与《英雄》的比较研究[J].北京电影学院学报,2005(4):32-39.
[3] 张靓蓓.十年一觉电影梦:李安传[M].北京:人民文学出版社,2007:138.