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Lyrical Vision: The Cinematic Aesthetics of Andrei Tarkovsky.

机译:抒情视野:安德烈·塔尔科夫斯基的电影美学。

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摘要

This dissertation explores Andrei Tarkovsky's aesthetics, his "cinematics," a concept meant to evoke poetics, but firmly grounded in film form. That is, the study investigates not just Tarkovsky's engagement with issues of film form, but also why that engagement was so important for him and what it implies about the nature of the cinema. In examining this concept it also investigates how it is possible to seriously consider a film as poetic or lyrical, adjectives frequently attached to Tarkovsky. Each of Tarkovsky's seven features is examined in relation to camera movement, editing, performance or issues of narrative. Film theory, particularly that of Siegfried Kracauer, Sergei Eisenstein, David Bordwell and Tarkovsky himself are also examined in an effort to contextualize Tarkovsky in formal history.;Part One begins by examining the issue of voice as it pertains to cinematic narrative. Looking at Tarkovsky's first and final films, it becomes clear that Tarkovsky stripped narrative down over the course of his career. His films still offer distinct excesses of detail that serve as a signature. Part One concludes by examining Tarkovsky's use of actors and to what end. Paradoxically, by denying the inner depth of character in performance, the camera is able to reveal it in time.;Part Two explores Tarkovsky's understanding of the shot as the basic unit of cinematic rhythm and the moving long take as the key device in Tarkovsky's cinematics. Tarkovsky's camera movements are responsible not only for the sense of the shot, but that thus time is most forcefully captured by the cinematic apparatus. Contrasting Tarkovsky's theorizing with that of Eisenstein teases out how rhythm may in fact be created in shooting and not editing.;Part Three returns to issues of narrative in an attempt to come to terms with the lyrical qualities of Tarkovsky's cinema. As Tarkovsky frequently linked the cinema to the chronicle, an examination of the commonalities of the two media via the writings of Dmitrii Likhachev reveal an unlikely affinity. This affinity---a commitment to the fact of an event over its potential narrative significance---also links the cinema to the lyric poem.
机译:本文探讨了安德烈·塔尔科夫斯基的美学,即“电影学”,该概念旨在唤起诗学,但扎根于电影形式。也就是说,该研究不仅调查了塔尔科夫斯基对电影形式问题的参与,而且调查了这种参与对他如此重要的原因及其对电影本质的暗示。在研究这个概念时,它还研究了如何认真地将一部电影视为诗意的或抒情的形容词,经常与塔可夫斯基联系在一起。塔可夫斯基的七个特征中的每一个都与相机的移动,编辑,性能或叙述问题有关。电影理论,尤其是齐格弗里德·克拉考尔,谢尔盖·爱森斯坦,大卫·鲍德韦尔和塔科夫斯基本人的电影理论,也旨在考察正式历史中塔尔科夫斯基的语境。第一部分首先探讨与电影叙事有关的声音问题。看塔尔科夫斯基的第一部和最后一部电影,很明显塔尔科夫斯基在他的职业生涯中剥夺了叙事。他的电影仍然提供了明显的细节细节,可以作为标志。在第一部分中,通过考察塔可夫斯基对演员的使用​​以及达到的目的进行了总结。矛盾的是,通过否认表演中人物的内在深度,摄影机能够及时地揭示出来。第二部分探究了塔科夫斯基对镜头作为电影节律基本单位的理解,以及移动长镜头作为塔尔科夫斯基电影学中的关键装置。塔可夫斯基的摄影机动作不仅负责镜头的拍摄感,而且时间是电影设备最有力的捕捉时间。将塔科夫斯基的理论与爱森斯坦的理论相对照,可以弄清楚实际上是在拍摄而不是剪辑时产生节奏的。第三部分回到叙事问题上,力求与塔科夫斯基电影院的抒情品质融为一体。由于塔尔科夫斯基经常将电影与编年史联系起来,因此通过德米特里·利哈切夫(Dmitrii Likhachev)的著作对两种媒体的共性进行了考察,结果显示出一种不可能的亲和力。这种亲和力-对事件的事实及其潜在叙事意义的承诺-还将电影与抒情诗联系在一起。

著录项

  • 作者

    Campbell, Kolter McFall.;

  • 作者单位

    Northwestern University.;

  • 授予单位 Northwestern University.;
  • 学科 Literature Slavic and East European.;Cinema.;Aesthetics.
  • 学位 Ph.D.
  • 年度 2014
  • 页码 188 p.
  • 总页数 188
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:53:20

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