世界电影史续二.docVIP

世界电影史　续二时间和实验证明电影摄影机只不过是以类比为准－－而这种类比是错的。场景－故事发生地点－要舞台的基本单位，因为剧场的空间是那样的固定。观众坐在这边，人物在那边，而那布景是固定在动作的后面的空间里。但是电影的空间却是完全灵活的，只有银幕是固定不变的，而银幕上的动作却不是固定不变的。导演们发现电影的基本单位是镜头，而不是景场，镜头可以以各种方式组合起来形成场景，而场景又可以以许许多多方式来并置，平行地发展。地点的统一是舞台的可以说是基本的和实际可行的原则，但是电影冰需要这样用。更为实用的原则是，用一系列合适的视听形象（在中国通称长画面）来产生作为一个整体的电影的预期的叙事连贯体，来产生预期的含义，和恰当的情绪紧张性。到了无声电影的末期，这一原则不仅是一个发现，而且已经演示了出来。Time and experimentation revealed that the camera was anchored by analogy alone--and that the analogy was false. The scene--the locale--is the basic unit of the stage because space in the theatre is so concrete. The audience sits here, the characters play there, the scenery is fixed in space behind the action. But space in the film is completely elastic; only the screen is fixed, not the action on it. Directors discovered that thet unit of a film is the shot, not the scene, that shots can be joined together in any number of combinations to produce whole scenes and that scenes can be varied and juxtaposed and paralleled in any number of ways. Unity of place, a rather basic and practical principle of the stage, does not apply to the movie. More applicable is a principle of an appropriate succession of images that produces the desired narrative continuity, the intended meaning, and the appropriate emotional tension of the film as a whole. By the end of the silent era this principle had not only been discovered but demonstrated.录音的发明对前三十年的发现提出了质疑。对于跟舞台的类比再次提出了怀疑，因为舞台演员，舞台剧作家，舞台导演和舞台特技再次蜂涌到电影里来。于是再一次发现是错的。就象以前在视觉上以舞台的空间为准，现在声音也是以舞台为准。声音是从说话的人的嘴里出来的，你既看见说话的人，也看见他的嘴。可是在电影里，当话声是从说话的人的嘴里说出来的时候，它却有自由表现任何画面。声画的同期录音也允许声画分离。此外，由于电影摆脱了空间的局限，因此在使用声音上有更大的自由：自然音响效果，音乐伴奏，失真的效果，主观的思想活动和诸如此类的效果。如果说，无声电影的历史可以概括为产生了一环套一环的视觉形象，那么有声电影的历史是产生一环套一环的视觉形象与声音的结合的种种不同的方式。The discovery of sound raised doubts about the discoveries of the preceding thirty years. Once again the analogy with the stage was suspected; once again stage actors, stage writers, stage directors, and stage techniques flooded the movies. And once again, the analogy was fo