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就象“陪衬”是文学艺术的一种修辞手法一样,“陪衬镜头”也是电影艺术的一种修辞手法。这种修辞手法如果运用得当,对于刻画形象、深化主题、表达寓意都具有不可忽视的作用。日本片《典子》的编导对陪衬镜头的处理,就是一个成功的范例。一个先天被截去双臂的姑娘,如何走过自己漫长的人生历程?是仰仗别人的鼻息和亲人的怜悯苟且过活,还是依靠自己的力量勇敢地正视现实,面对人生?编导围绕着这个中心展开了全剧,在典子人生历程中的每一个转折关头,都插入燕子的陪衬镜头,使观众从中产生丰富的联想,强化了艺术效果。典子并非生来就是坚强刚毅的,她小时处处依赖母亲,因不能自理生活而被学校拒收后,回家路上又因不肯自
Just as “foil” is a rhetorical device of literature and art, “filming” is also a rhetorical device of film art. If used properly, this kind of rhetoric can play an important role in portraying the image, deepening the theme and expressing the meaning. Japanese film “Code” director of the foil lens processing, is a successful example. How can a girl who has been cut off by her own arms walk through her long journey of life? Can she live on the merits of others and her compassion, or should she confront her realistically and confront her in her own life? Unfolded the whole show, in every turning point in the history of the classical life, swallows are inserted into the lens, so that the audience can produce rich associations, and strengthen the artistic effect. Code is not born is strong and resolute, she was dependent on the hours of her mother, because they can not take care of their own life after being rejected by the school, go home because of unwilling