论色彩象征性与非象征性的融合——以影片《放大》为例

在电影中，色彩象征性的运用可建构电影色彩表意功能符号，色彩非象征性的运用能凸显电影艺术家的色彩思维，而一旦色彩象征性与非象征性相融合，就会表现出以下两个方面效果：一是实现电影色彩的二维匹配（侧重于象征性），二是实现电影色彩的三维空间立体建构（侧重于非象征性）。安东尼奥尼的电影《放大》是色彩象征性与非象征性融合的典范，以独特的电影色彩思维为其后电影从业者提供了参考的蓝本。

On the Combination of Color Symbolism and Non Symbolism: Taking the Film Blow Up as an Example

In film industry, the application of symbolism of color can construct the film color ideographic function symbols, while using the non symbolism of color can highlight the color thinking of film artists. The combination of the symbolism and non symbolism shows the following two aspects of the effect: one is to achieve the two dimensional color matching (focus on symbolism); the second is to realize the three dimensional construction of film color (emphasis on non symbolic). Blow Up by Antonioni is a masterpiece of the combination of symbolism and non symbolism in color application, and his unique mindset of sensing and using color provides excellent reference to his successors.