| 关于电影剪辑的几种理论模式 |
| |
| 引用本文： | 黄文达. 关于电影剪辑的几种理论模式[J]. 上海大学学报(社会科学版), 2005, 12(1): 56-61 |
| |
| 作者姓名： | 黄文达 |
| |
| 作者单位： | 华东师范大学,传播学院,上海,200062 |
| |
| 摘 要： | 从语言关系、认知关系和审美特性等方面系统地梳理各个主要电影理论流派关于剪辑理论的阐释及 从语言关系、认知关系和审美特性等方面系统地梳理各个主要电影理论流派关于剪辑理论的阐释及其发展变化很有必要。剪辑所引起的理论讨论不仅在电影理论中是最接近电影创作本身的,而且直接引起了关于后地理与后历史这种新时空、新体验的思考。
|
| 关 键 词： | 剪辑 语言 语法 时间 空间 代码 |
| 文章编号： | 1007-6522(2005)01-0056-06 |
| 修稿时间： | 2004-11-03 |
Several Theoretical Modes of Film-Editing |
| |
| HUANG Wen-da. Several Theoretical Modes of Film-Editing[J]. Journal of Shanghai University(Social Science Edition), 2005, 12(1): 56-61 |
| |
| Authors: | HUANG Wen-da |
| |
| Abstract: | There are several kinds of film-editing theories necessary to clarify about their connotations and developments. The clarification should be from different perspectives such as linguistics, cognition and aesthetics, giving not only theoretical discussions closest to the film creation but also new reflections on such time-space views as post-geography and post-history. |
| |
| Keywords: | film editing language grammar time space code |
| 本文献已被 CNKI 万方数据 等数据库收录！ |
|
