温远温行之肉52章-代写essay范文:Thewaythrillersaretold

导读:这是一篇essay范文,讨论了温远温行之肉52章的叙事方式。在电影的发展中,好莱坞温远温行之肉52章形象地描绘了人类文化中“梦魇”式的经历,这些特定的恐怖元素是人们不同时期的文化和心理危机的艺术性投射。在温远温行之肉52章的发展中,全景式多元角度的叙事语境和边缘性的审美内涵对传统恐怖片在立意和结构创意上的转型起到了推动作用。这种新惊悚片的多元化效应,是极具代表性意义的。

Americanthrillersfromtheeraofsilentfilmstothepresentcanbedescribedasthickandimpetuous.InGermanexpressionismphilosophy,theresistancetoauthorityconsciousness,theconfusionoffreeconsciousnessandtheexpressionofdistortedandabsurdartisticim**esallhaveanenlightenmentinfluenceonthedevelopmentofAmericanhorrorfilms.Fromearly20sands"vampire"classicseriestohorrormoviemasterHitchcock's"psychologicalterror"oftherealscenario,Hollywoodthrillermovieim**edepictsthe"nightmare"inhumanculturalexperience,factis,theseparticularterroristelementsindifferentperiodsofAmericancultureandartisticqualityprojectionthepsychologicalcrisis.However,sincethelate1980s,withthechangeofsocialpsychologyandtheenrichmentoffilmtypes,AmericanHollywoodhorrorfilms,whichrelytoomuchonspecialeffectstechnologyandbloodyviolence,havegraduallydeclined.RepresentedbyJamestemperatureofcontemporaryHollywoodhorrorfilmdirectortriedtothecontextofpostmodernculturewillbetheintegrationofeasternandwesternhorrorelements,todistinguishitfromthepasttraditionalhorrormovienarrativeideasexploredaroadtothetransformationofthenewAmericanhorrormovies.

从无声电影时代到现在的美国惊悚片可谓厚重而浮躁。在德国表现主义哲学中,对权威意识的抵制,自由意识的混淆以及扭曲和荒诞的艺术形象的表达都对美国温远温行之肉52章的发展产生了启示性的影响。从20世纪初和s“吸血鬼”经典系列到温远温行之肉52章大师希区柯克的“心理恐怖”的真实情景,好莱坞温远温行之肉52章形象描绘了人类文化体验中的“噩梦”,事实是,这些特殊的************在不同时期美国文化和艺术品质投射的心理危机。然而,自20世纪80年代后期以来,随着社会心理的变化和电影类型的丰富,过分依赖特效技术和血腥暴力的美国好莱坞恐怖片逐渐衰落。代表詹姆斯当代好莱坞温远温行之肉52章导演试图将后现代文化的背景融合到东西方的恐怖元素中,以区别于过去传统的温远温行之肉52章叙事思想探索新美国恐怖主义的转型之路电影。

Thenarrativecontextherenotonlyreferstothedeepstructuralcontextwithinthefilmtext,butalsoreferstotheexternalsocialandculturalcontextinwhichthefilmnarrativeisproducedanddeveloped.AmericanthrillermasterHitchcockhasmadegreatachievementsinHollywoodfilmhistory,ontheonehand,hehascreatedthepioneerofpsychologicalhorrorfilm.Withthereallifesceneasthenarrativebackground,the"psychologicalfearintherealscene"isemphasized.Ontheotherhand,heartisticallyexpressedtheanxietyoftheAmericansocialgroupatthattime,furtherexplainingtopeoplethatfearcomesfromthedistortionofhumannatureintherealworld.Obviously,JamesweninheritedmasterofHitchcock'snarrative,atthesametimeintotheOrientalcultureelementsofmodernism,createdthetypificationnarrativecontextsetuptheuniquepersonalstyle.First,theuntypicalstructuralcontext.DifferentfromthetraditionalAmericanhorrorfilm,zhanhorrorfilmhasastrongstreamofconsciousnessinthenarrativecontext.Thedirectorisgoodatreplacinglinearconflictstructurewithblocksplicingstructure.DifferentfromvividplotcomplexpayattentiontothetraditionalAmericansoundfilm,Jamestemperatureplotisverysimple,nottoofancyemotionalelements.Thesettingofthescenealsostrivestobeclosetotherealityoflifeandcompletelyclosetothenarrationofnature.Intermsofshootingtechniques,wideAngleshootingtechniquescommonlyusedindocumentariesarealsoadopted,andeachlife-changingsceneisrecordedinpanoramicview.However,Jamescreatesakindofsuffocatinganxietyanddepressionbasedonthenaturalizationofthenarrativecontext.Thiskindofrepressionandanxietyoriginatesfromthestrongsenseofrealityontheonehand,andontheotherhand,itisanartisticsymbolofthecontradictionbetweentherealityofAmericansociety.Itsrepresentativework,'Insidious',wastranslatedintoChineseas'Insidious',andthedirector'sintentionwastorefertoplotsthatweresurginginthedark.Also,thewholefilmisalwaysinaquietanddepressingreality.Thedirectordeliberatelyplayeddownthebackgroundsoundeffects,evenonthenecessarysoundtrack,usingshort,mixedsoundeffects.Thefilmitselfisastoryoftheoldhouseishaunted,seeminglymundane,clueismoreonefold,butregionaldirectorlayertypenarrativelikethemovieattheendofthecorridoroftheoldwoodendoorhaveopenedupawholenewworldofterror.Thesettingofthewholemovieispurelife,andthefurnishingsintheroomarebasicallyunchanged.DirectorwithinthenarrowspacewithawideAnglelenstoincreasethepanoramicim**espace,thelensastoinfrontofthehousecorner,letitwithroomtomove,sothattheaudiencecanseeanotherhouse,seeaprot**onististhroughthedoor.Thelampthatthefirsthalfofthefilmfallstotheground,sofainthecorner,thesittingroomthatputspiano,maleandfemaleleadacomfortablelife,quietwithoutanybackgroundmusicexpression.Allseemedtoflowinthedarkwithanevilforce.Withacalmandobjectivenarrativeperspective,thedirectortriestoconveythemess**etotheaudiencethatthefearitselfishiddeninthedetailsoflife,theplaintruthandthetruehorror.Itisbecausethisishome,afamiliarsafeenvironmentfortheaudience,andoncethissafedistanceisviolated,thefeargeneratedbytheaudienceisirresistiblepain.Underthisextremerepressionofbedding,therhythmofthelaterhalfofthefilmiscompact,theflaresintheplotoftheprogressivefearintheheatofastandoffwiththehumanspiritreleasedperfectly.Nottospeakofaheartydripping.Secondly,directorJameslikestoplacethenarrativebackgroundinacompletelyclosedspace.Thisfearoftheunknownandthesenseofconstraintinalimitedspacearethedarktoneofhisthrillerfilms.Thissenseofbond**eisalsoreflectedinthesettingoftherole,thechild'smotherisafreecreator,andthebasiclivingspaceisalsointhishouse.Therefore,thisstrongsenseofbond**e,whichishardtobreakfree,isalsothemanifestationofthecollectiveanxietythatthecontemporaryAmericanyouth'sself-ideologydeviatesfromtheconflictofsocialrules.(责任编辑:quanlei_cai)