谭家明电影艺术研究.pdf

Classified Index: University Code: 10075 U.D.C: NO: 20100899 A Dissertation for the Degree of M. Arts The study on film art of Patrick Tam Candidate：：Tian Jing Supervisor：：Prof.Geng Xiaobo Academic Degree Applied for：：Master Degree of Arts Speciality：：Broadcast and TV art subgect University：：Hebei University Date of Oral Examination：：May,2013 摘 要 I摘 要 “作者电影”是法国电影新浪潮时期提出的口号，即“拍电影，重要的不是制作，而是成为电影的创作者” ，随之涌现出法国的特吕弗、戈达尔、克劳德“夏布罗尔，美国的尼古拉“雷伊、阿尔弗莱德“希区柯克等优秀电影作者，他们的作品都体现出自己完整的世界观。

当新浪潮电影席卷至香港后，谭家明扛起了“作者电影”的大旗，他的作品卓尔不群，独具一格，在香港电影史上留下了浓重的一笔 谭家明才华横溢，集导演、编剧、美术、剪辑于一身，一九八零年处女作《名剑》问世，预示着他从一个电视导演成功转型为电影导演随后在一九八二年拍摄出美术特异的实验作品《爱杀》 ，震惊香港蛰伏十七年后，2006 年，谭家明再度执导《父子》 ，蝉联“金马奖”各大奖项，被人们称为“香港新浪潮的回归” 时至今日，谭家明仅拍了八部作品虽然产量不多，但每一部影片都体现出影像凌厉和高度风格化的导演风格，他为香港的电影事业的发展起到了巨大的推动作用 本论文以香港新浪潮为背景，纵观谭家明生平及创作历程，分析谭家明的“电影作者”特色，进而探究他对香港新浪潮“作者电影”的继承与发扬所作出的贡献 关键词：关键词：作者电影 新浪潮 谭家明 风格独特Abstract IIAbstract “Author film“ is a French New Wave era slogan, namely “the movie’s production is not important but to become creators of the film“, followed by the emergence of a French Truffaut emerged some excellent movie writers, such as Godard Claude Nicola Rey whose work embody a complete view of the world. When the new cinema wave across to Hongkong, Patrick Tam took this “author movie“ banner, his works has a unique style, which left an impressive image on the Hongkong film history. Patrick Tam is full of wit, director, screenwriter, art collection, editing in a 1980 debut, “sword“, suggests that he successfully turn a television director into a film director. Then shoot the experimental works of art to “specific“ in 1982, at the Hongkong. Dormant for seventeen years later, in 2006, Patrick Tam again directed “father and son“, won the “Golden Horse Award“ the awards, known as the “return of the Hongkong new wave“. Today, Patrick Tam only took eight works. Although the output is not much, but each movie reflects the image sharp and highly stylized directing style, he made great contribution for the development of Hongkong's film industry has. This paper take Hongkong new wave as the background, throughout Patrick Tam's life and creative process, analysis of Patrick Tam's “author of the movie“ characteristics and his exploration of the Hongkong new wave “author movie“ inheritance and the contribution he has made to develop. Key words: author of the movie New wave Patrick Tam Unique style目 录 III目 录 引引 言言.................................................................................................................................1 第第 1 章章 新浪潮与电影作者新浪潮与电影作者..............................................................................................3 1.1“作者电影”——法国新浪潮的支流电影...........................................................3 1.2 香港新浪潮与法国新浪潮“作者电影”的关系..................................................5 1.2.1 法国新浪潮的后续效应.....................................................................................5 1.2.2 香港本土化色彩浓重.........................................................................................6 1.3 谭家明——正统的新浪潮传人..............................................................................7 第第 2 章章 谭家明的从影之路谭家明的从影之路..............................................................................................9 2.1 谭家明的迷影情结..................................................................................................9 2.2 谭家明的影评人经历............................................................................................11 2.3 谭家明的“电影作者”身份与“电影作者”标签............................................13 第第 3 章章 谭家明独特的主题内涵谭家明独特的主题内涵....................................................................................15 3.1 谬误的现实............................................................................................................15 3.2 女性从觉醒到自主................................................................................................16 3.3 符号的象征............................................................................................................17 3.3.1 高速公路的隐喻...............................................................................................18 3.3.2 大海的寄托.......................................................................................................19 3.3.3“性”的意识....................................................................................................20 第第 4 章章 谭家明风格化的视听语言谭家明风格化的视听语言................................................................................21 4.1 从叙事手法展现作者的风格................................................................................21 4.1.1 注重细节甚于戏剧结构...................................................................................21 4.1.2 新颖的叙事结构的探索...................................................................................22 4.2 色彩的大胆运用....................................................................................................23 4.3 场面调度的精心设计..........................。