摘要
日本导演小津安二郎,在其短暂的一生中拍摄了五十三部电影作品,创立了自己独特的美学追求,永远用固定的仰视机位以及稳定的景别来刻画人物场景,很巧妙的抒发出日本所特有的民族文化。"家庭"在他的电影里,始终是一个永恒的话题和表达的主题,他通过家庭的变迁来"解剖"一个时代的大环境。通过深入他作品中的人物,来展示出其背后体现的导演艺术风格以及执导手法和思想表达。
The Japanese director small Tianjin peaceful second sons,have photographed 53 movie works in its short life,established own unique esthetics pursue,forever used fixed to look up at the seat on a plane as well as the stable scenery do not come to portray the character scene,very ingenious expressed the Japan unique national culture.'The family'in his movie,is throughout an eternal topic and the expression subject,he comes'the dissection'through the family vicissitude a time macro environment.This article through the character who penetrates in his work,demonstrated its behind manifests the direct artistic style as well as directs the technique and the thought expression.
出处
《怀化学院学报》
2011年第A11期43-45,共3页
Journal of Huaihua University
