河濑直美的诗意表达及对其瓶颈的思考-广播电视艺术学专业论文.docxVIP

A Abstract 上海师范大学硕士学位论文 万方数据 万方数据 Abstract In the late 90’s, while various of Japanese movies made by directors such like Takeshi Kitano, Shohei Imamura and Shunji Iwai had caused the attention of Filmdom, another Japanese female director who called Kawase Naomi, depended on her style of characterized simplicity of images, which cut a striking figure at the Cannes film festival. In the independent film golden age of Japanese filmdom, the movies made by Kawase Naomi just like a deep spring, which touched the hearts of audiences by her native and clear photography. From the hand-held 8 mm camera documentaries made in her early period to mature feature stories made nowadays, the majority background of Kawase Naomi’s works were based on her hometown Nara, she especially took lens of local people , with her hometown aware consciousness made her Realism poetic films. In the industrialized contemporary that male director had absolutely dominated the Japanese filmdom, Naomi Kawase persevered in her inherent rhythm to express her works which were almost closed to handicraft industry. However, in recent years, the films made by Kawase Naomi have been criticized too difficult to get rid of the background of her hometown Nara. New works also changed in form but not in content.We have to admit that during the period of making documentary Embrace, See heaven as well as her early stage of making feature called Moe no suzaku and The Mourning Forest, the poetic language by Naomi Kawase expressed quite properly through her pure lens. However overly obsessed with the expression of the industrial and regardless of the audience’s feeling made her works increasingly deviated from her original intention.This thesis focus on Naomi Kawase’s documentary to her feature films, combined her text narrative and the lens power as well as her images aesthetics .Compared her downhill feature films in recent years with her masterpieces in her peak period. Comprehensively analysis the poetic beauty