王家卫电影的视听语言

1、英 文 原 文 及 翻 译学 院：人文社会科学学院专 业：广播电视编导姓 名：闫谨学 号：1107080313完成时间：2012年4月13日二一二年四月Wong kar-wai film of audio-visual language analyticalWong is undoubtedly since the late 80 s Hong Kong and Chinese film and TVs most successful one of the director, wong kar-wai film of audio-visual vocabulary always give a

2、person to expectations and accident, thus to bring sense of view shadow meet. This paper tries to interpret the wong kar-wai film audio-visual strategies to step into the market for the continent has to provide a reference for the film.Star: cant resist the temptationWongs film are all enable big st

3、ar, in wongs recuperation, star can reveal more the repressed, be ignored, or wont be expected charm. As for the renovation of the cheung wong kar-wai, completely avoid the vase pretty girl star paradigm, but she Lin design, mong kok, Carmen blunt wear a face mask mask of the disease in the country

4、big sister Fu teddy boy rushed jade days saying nothing at the bottom of the survival of the shop girl, they are all as a waiting for, and the choice is the object of neglected, east evil west poison neglected at home in the eldest sister-in-law, in the mood for love pattern in the beautiful Chinese

5、 dress package Jane is no exception. Maggie cheung image is the past superiority and adornment to feel completely disappear in here the role of life was born, star may have a potential be mining ?Wong kar-wai, and now and then to star in a special kind of packing and reconstituted, the most typical

6、example is known as the Oriental beauty, said the Lin qingxia in the chongqing forest in recognition: blond, sunglasses and a raincoat package tired of female poison Niao, the modelling of weird but received the intent of the different effect. A similar role image and the teddy boy of days of Andy l

7、au, degenerate angel in LiJiaXin as killer agent and takeshi kaneshiro plays dumb. These types of abuse in movie conventions in the mold of all those beautiful suddenly in this appear as some of the alternative, give the audience to find everything new and fresh feeling.In wongs film series, althoug

8、h star temperament is wong kar-wai role transformation, however, almost every star and they played between the characters of there are some inner similar and registration. Such as Leslie cheung plays the fly son ( teddy boy days of being wild ), killer agent ( east evil west poison ) is both pride (

9、refused to others) and frustrated (being refused and hurt); Silence moderate patrol 663 ( (chongqing forest ), blind swordsman ( east evil west poison ) and amazing ( in the mood for love ) and seemingly Tony leung personal inside collect the character. The star itself with character and temperament

10、 have resonance sex role Settings and arrangement so that actors perform in appear swim blade enough to spare, relaxed freely, and display their character charm.Fans into the theater to find my own idol in the performance of the piece, want to gain enough, but may not get, but get full of surprise e

11、xpectations, and absolutely not thorough vanishing and subversion! Let the stars shining in the film, and continue to be fans of the audio-visual looking forward to meet the audience recognition is one of the largest wongs skill.Time and space: subjective projectionThe artists vitality is not only c

12、reating a classic, and dare to break and violations of the classic. Wong kar-wai film subjective try all kinds of expression, always can give the audience audio-visual surprise.Image elements in the wong kar-wai works of sex, implied meaning that greatly enhanced. Whether people look, its language c

13、lips, also or Yin hi and lack of sunshine of humble room, not the fast food and so on empty seat attached mirror, even will soon expire the canned pineapples, with viewers in a kind of inner thought level of dialogue. In the wong kar-wai opinion, with image elements to the purpose of the right now t

14、han words. I cant only can sense image elements and the audience just within resonate, and get the pleasure of audio-visual and pleasure.Position, area, Angle is photography compositions three big essential factors. Directors often went to great pains to in the area and position, view, front, and ma

15、ny other aspects of design of pleasure. But in wongs movie for a specific purpose, highlight one party, break equilibrium common occurance. Wongs more time space view reflected a kind of subjective change characteristics of time and space, time and space sometimes become works as part of the element

16、s, sometimes but never comes in contact with the characters, its function is to make the film takes on a kind of individual style breathing and rhythm, also can saying is the author and audiences a communication, let the audience in communication get audio-visual enjoy. Such as degenerate angel ultr

17、a wide Angle lens, to the audience absolutely novel visual impact. Picture of timely rendering the theme inconsistent paranoid, contradictions, but the state of mind. Degenerate angel in the extreme photography bold attempt, the whole movie is almost completely with a short coke made into a wide Ang

18、le lens, certainly will cause deformation effect; Close range distortion, the vision and throw the far away. This novel the characteristics of camera language is the epitome of modern city-alone and desire, repressed and helpless mood in the super wide Angle in close range and close-up in shows, hom

19、eless, living condition of the unrest in extreme hyperbole have full of the most passionate say. Not avoid the modern urban mass culture of the Philistine and messy, and put the colourful common world attunements a very thick poetic flavour, its very impressive.Colour: psychological impressionColor

20、in the history of the development of the film on had different opinions. Now the directors think color are true or not fall in time, the most important is the value of the first according to tonal (black and white) and psychological meaning (changes in temperature) to use color, if Mr Spielbergs sch

21、indlers list. We felt the value of color is rather than colour itself. This exaggerated trend to close the film painting, both symbolism and have dramatic effects, this point in wongs film is a very good performance. With la strada for example. Shot in black and white occupy the first third in the f

22、ilm, the use of light and shadow, intense light and shade contrast will within characters and the cold hot appearance is depicted to lived. In CaiSePian part, film of blue, red two fundamental key, as well as the two mixed tonal. The blue of the streets, the lake imbued with a quiet and calm feeling

23、, and red bedroom, with a radical and bars are warm and upset. The actor in a stand and stand in a journey of points close, meet and depart, and the excitement of red flame and cold hard blue with alternate world repeatedly. LiYaoHui never shrink in the thick black coat, and HeBaoRong is to have man

24、y beautiful beautiful. Two very different colour is the character and destiny characteristics of the decision. The plot development to any injury, where the whole heart to take care of this period of climax theatre, two person feeling turn Lebanon changed into the light of the red clothes. But short

25、-lived. With the generation of estrangement, Lebanons bounced back cold tonal clothing. Stanley kaufman, once said: as the color a character. Throughout the colors in wongs works, and it is also the characters, character, with fate are closely linked, rich expression socialist and symbolism of the i

26、mportant role. In full in imitation of todays film fawning on customs. Wong kar-wai picture for us a unique scenery, which caught the eye of the audience.Only language/narrator: wong kar-wai film heart mojoCharacters speaks the number/narrator, component is heavy, not only the wong kar-wai film beca

27、me a landmark element, or the style characteristics, also be to enter wong kar-wai film world the most important channel. Wong kar-wai greatly unearthed a film of audio-visual artistic function, make movies with the art of images of voice proportion more symmetrical, gentler art more full, artistic

28、atmosphere more unique. In some new movie, dialogues are held to a minimum limit, psychological speaks/narrator is nearly in no, wong kar-wai deliberately movie seemed to do exactly the opposite, the result is obvious, it not only greatly enriched the film language, but also make the movie art means

29、 becomes flexible and diversified. Wong kar-wai film characters only language/narrator, make ever movie sound elements in relatively ignored by the monologue/voiceover artistic glamour is under unprecedented art show, this painting outside voice can as an independent element, and the characters dial

30、ogue, the film music, movie sound, the three big voice in elements, and then this person speaks/narrator form both narrative description structure and lyrical freehand brushwork in traditional Chinese painting and symbol, and many other functions, can say most benefit from wongs sole explore and cre

31、ative use. At the same time a large character only language/narrator use, also make it difficult for the film to describe invisible soul for the limited significant breakthrough. In the wong kar-wai film, the character psychological feeling and spirit through its freedom to secret thoughts and get d

32、irect present. Wong kar-wai, no film of the relevant rules and regulations or deal with voice-over established on the eyes, from no will voice-over as a fixed a single narrative, never a single narrative viewpoint of voice-over provisions, but intentionally disruptive, liberation of the movie words

33、hegemony, let people freedom of expression, let the cacophony in. The use of the characters narrator wong kar-wai, as a kind of special narrative decorate means and video of the connection, and gradually evolved into a wong kar-wai film skills the routine. Wong kar-wai film the narrator form a large

34、 number of applying, in fact there are more important function meaning, that is, directly display characters feel heart, communicate character inner information, portray the psychological condition. More important is the protagonists freedom songs are their words/voice, but its not only the wong kar

35、-wai film is a kind of assistance method, on the contrary, wong kar-wai film is often these feelings as the guidance, finally will work structure into article, thus make the wong kar-wai film really different. In this sense, wong kar-wai film can say is a very unique psychological movies: a state of

36、 mind and heart of the secret art exhibition. Knowing this, can we truly understand the teddy boy days of being wild no foot of the birds story, can understand its hero, jerry, why so eager to fly, till death do us to sorrow. Is the only way to understand the chongqing forest the god of characters i

37、n god out, east evil west poison in sun feng in Europe of chattering, can understand degenerate angel of the characters in the quirks of exaggerated his behavior, rather than it is a real life imitation, than the characters of the mind a desire, imagination and the pain of induction.In addition, the

38、 music is also wong kar-wai an indispensable factor in moving works charm. Music performed by the function of emotion is telling, make wongs film become abnormal unique. Wongs audio-visual conspiracy also comes from him in the postmodern media of the cultural characteristics of the master, the era o

39、f culture in a confounding, fast consumption, video screen instead of information in words of visual culture era, so the wong kar-wai film in the image on the style of similar MTV and changeable and splicing style, and modern music and the modern characteristics of the auxiliary: Degenerate angel co

40、llage of the character of type scenario; La strada in rapid flashing traffic flow, these features will undoubtedly increase the film on the fundamental key of modern culture breath, photography style of flowery and changeful, dazzling and in the picture show strange seeing different from the traditi

41、onal view of the experience to attract.In short, wongs optional, compose broken space and time, subjective images and to do the backbone monologue about, often will normal narrative process decomposition to fragmented, form a kind of intense isolation and loss. For those used to the structure of the

42、 traditional film for the audience, see the wong kar-wai film serves as a challenge and a temptation.王家卫电影的视听语言解析王家卫无疑是80年代末期以来香港乃至华人影视最成功的导演之一，王家卫电影的视听语汇总给人以期许与意外，从而带来莫名的观影满足。本文试图解读王家卫电影的视听策略，以期为已步入市场的大陆影视提供借鉴。明星:无法抗拒的引诱王家卫的所有影片都启用了大明星，在王家卫的调理下，明星更能彰显其被压抑、被忽略、或者根本不被预期的韵致。如王家卫对张曼玉的改造，完全回避了其花瓶靓女明星的范式

43、，而是把她设计粼旺角卡门冲戴一个大口罩掩病的乡下妹玉袱阿飞正传冲默默无言在底层生存的店女，她们都是作为一个等待者和被选择被忽略的客体，东邪西毒中被忽视在家的大嫂、花样年华中花样旗袍包裹的丽珍也不例外。张曼玉往日形象所具有的优越性和装饰感在这儿全然消失角色的生命也由此诞生，明星可能具有的潜质被挖掘出来，给被泛滥的明星套路充塞的港台片的观众带来一种新的刺激。王家卫还不时对明星进行一种另类的包装与重塑，最典型的例子便是素有“东方美女”之称的林青霞在重庆森林中面目全非:金发、太阳镜和雨衣包裹得严严实实的女毒袅，怪异的造型却收到了意想不同的效果。类似的角色形象还有阿飞正传中的刘德华，堕落天使中李嘉欣饰演

44、的杀手经纪人和金城武饰演的哑巴。这些在类型电影的陈规滥套中被模式化的“俊男美女”突然以这样一些另类的面目出现，给了观众以耳目一新之感。在王家卫的系列电影中，虽然明星角色气质被王家卫改造，但几乎每个明星与他们饰演的角色间都存在着某种内在的相似和对位。如张国荣演的飞仔（阿飞正传）、杀手经纪人（东邪西毒）都是既傲气(拒绝别人)又失意(被别人拒绝和伤害)；沉默温和的巡警663（(重庆森林)、盲剑客（东邪西毒）和周慕云（花样年华）颇似梁朝伟个人内敛谦和的性格。这种与明星本身性格和气质有共振性的角色设置和安排使演员在表演中显得游刃有余、轻松自如，充分展示自己的个性魅力。影迷进戏院找寻自己偶像在片中的表现，

45、想要得到的是满足，但不一定得到、却得到期许中满满的惊喜，又绝对不是彻底的幻灭与颠覆！让明星在底片上闪闪发光，并且继续被影迷们认同满足观众的视听期待是王家卫最大的本事之一。时空:主观的投影艺术家的生命力不仅仅在于创造一个经典，而且要敢于打破和违反这个经典。王家卫影片主观尝试各种表现手法，总能给观众视听上的惊奇。形象元素在王家卫作品中的表意性、引申意味大大加强了。无论是人物的神态，支离的语言片段，亦或阴晦而缺少阳光的陋室，不附座位的快餐店等等空镜，甚而即将过期的凤梨罐头，都在与观者进行一种内在的思想层面的对话。在王家卫看来，用形象元素去意会的目的远胜于言传了。不能言传只能意会的形象元素正好和观众自

46、己内心产生共鸣，从而得到视听上的愉悦与快感。位置、面积、角度是摄影构图的三大要素。导演们往往煞费苦心地在面积、位置、视线、朝向等诸多方面设计出种种的愉悦。但在王家卫的电影中为特定的目的，突出一方，打破均衡屡见不鲜。王家卫的时空观更体现了一种主观化时空特征，时空有时成为作品中的参与元素，有时却根本不与人物发生联系，其功能在于使影片呈现一种个人风格的呼吸与律动，也可以说是作者与观众的一种交流，让观众在交流中得到视听上的享受。如堕落天使的超广角镜头，给观众绝对新奇的视觉冲击。画面效果的一反常态适时地渲染了主题偏执、矛盾、无奈的心态。堕落天使中摄影作了极端大胆的尝试，整部片子几乎完全用短焦广角镜头拍成

47、，势必造成变形的效果；近景扭曲失真，远景又虚化遥远。这种新颖的镜头语言的特点正是现代城市的缩影孤独而渴求，压抑而无奈的心情在超广角的中近景和特写中表露无遗，无家可归，动荡不安的生存状态在极度的夸张中又依稀饱含着最动情的诉说。无意回避现代都市大众文化的俗气和凌乱，而且把这艳俗的世界点化出浓浓的诗意，实在令人叹为观止。色彩：心理的印象色彩在电影的发展史上曾有过不同的见解。现在的导演们认为色彩的真实与否倒在次，最重要的是先根据色调的价值(黑白)和心理含义(冷暖)去运用色彩，如斯皮尔伯格的辛德勒名单。我们感受的是色彩的价值而非色彩本身。这种夸张的趋势使电影向绘画靠拢，既有象征主义又有戏剧效果，这一点在王家卫的电影中得到了很好的发扬。以春光乍泄为例。黑白片占据了片中的前三分之一，光与影的运用，强烈的明暗反差将人物内心的炽热与外表的冷漠刻画得入木三分。在彩色片部分，影片共有蓝、红两种基调，以及二者的混合色调。蓝色的街道、湖水渗透着一种沉寂、冷静的感觉，而红色的居室、酒吧则洋溢着激进、热烈和不安。男主角们在一站又一站的旅程里分合，相