媒介/环境视域下的"楚原+古龙"电影布景研究
A Study of Movie Sets in Chor Yuen's Martial Arts Films under the Medium/Environment Framework
陆丹琦1
作者信息
摘要
楚原于20世纪70年代拍摄了一系列古龙小说改编的电影,其布景、美术别具"邵氏"片场特色.片中印有书画诗词的屏面高频复现,其对空间似隔非隔、似断非断的重构及半透明屏面所产生的引导观看模式的效果,显示出"影中屏"在视觉建构、意境营造与"情动力"塑造等多方面的潜能.此类布景装置不仅服务于香港影像"武托邦"的呈现,也为在"媒介/环境"视域中重新理解布景团队配合、设计思维及影像视觉表达提供了重要视角.
Abstract
Hong Kong director Chor Yuen made a series of martial arts films in the 1970s,adapting Gu Long's novels at Shaw Brothers.These films showcased distinctive studio styles,featuring a number of stylish architectural elements,including veiled screens with Chinese poems and paintings.The veiled screens reconfigured the on-screen space and influenced the audience's viewing experience.Their obscure and enigmatic characteristics—seemingly separated but not separated,seemingly disconnected but not disconnected—created a plethora of visual and aesthetic possibilities.These dispositifs served as part of the set design,presenting a romantic yet bizarre social environment of"Wutopia"(a martial arts utopia)through clever cinematography that cynically mirrored the state of Hong Kong at the time.They can also be scrutinized within the conceptual framework of"Medium/Environment",reflecting the creativity of the film production team and the team's unique artistic expressions.
关键词
楚原/古龙/邵氏/布景美术/片场制/香港电影Key words
Chor Yuen/Gu Long/Shaw Brothers/studio system/Hong Kong cinema引用本文复制引用
出版年
2024
NETL
NSTL
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