从物质性角度解读电影中的照明.docxVIP

从物质性角度解读电影中的照明 哈默修任何图像的光都会隐藏特定的内在感受。而另一位同样来自北欧的艺术家德莱叶也被这样的光影所吸引,进而在自己的电影场景照明当中延续了哈默休伊的风格,并通过场景中流露出的情感将角色的灵魂栩栩如生地表达出来。 解读哈默休伊和德莱叶,事实上是去解读两种创作之间的关系:并非简单地阅读一幅幅场景画面将其排列在一起,而是提炼出两者共有的特点,并使之能够自由地表达自身。光作为一种心理概念,被不断强调并成为了主角。并非是用照明去照亮绘画作品,而是让绘画作品照亮整个空间,因此,照明是微弱的(仅采用少量的蜡烛)、强烈的(一系列门所带来的失重感)、受控制的(通过一条侧面的线)、具有暗示性的(正面一扇打开的窗户),并作为一种整体环境存在着。同时,一系列的屏幕使得观者能够看到电影中的场景。 在将光以戏剧、冲突、静谧、朴素、简单、无形以及神秘等一系列的概念进行展示的同时,当代文化中心的空间又转变为一处静谧的场所,在夹层当中排列着剧院座椅,展示了诸如角色生平、电影片段、场景照片等具有延伸意义的资料。这样的环境所带有的物质性正从侧面反映了非物质性的存在,并且加强了作品的表现控制力;如果可能的话,还为展览本身增加了另一个主题,即作为展示者的画家和电影制作者希望置身于该环境中的观众,对于作品的感知能够成为作品本身的延续和继承。 Hammersh?i is the painter of contained emotions where the magical light,permeates each of his scenes conceal and reveal at the same time.And the artist who has been touched by these rays,has been another artist Dreyer,Nordic too,which has led every scene of his film as a succession of frames of Hammersh?i’s impressions and has set up an animated soul to his characters where emotions flow with a nakedness that impresses. Understand Hammersh?i and understand Dreyer but above all,understand the relationship between the two productions is not to identify paintings with scenes and put them next to each other,but extract the common and allow it to express himself.Light,the more mental concept,which is highlighted and it’s the main protagonist.The light exhibition does not illuminate the paintings,but let the paint illuminate the space,so this is tenuous at times(just a few candles),intense(weightless atmosphere in a succession of doors),directed(through a lateral line)suggestive(an open window at the front)and surrounding in its entirety.It also happens to the screens that allow viewing scenes from the films. As well as light are present substantives such as drama,radicalism,silence,austerity,simplicity immateriality,mystery,…clearly opposed to bustle,the CCCB space turn into a series of theatre tables arranged in the interlinings where contemplate(a little-alone and the extent of the act and parts),the characte