| 试论音乐在电影中的艺术审美定位 |
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| 引用本文： | 陈越红. 试论音乐在电影中的艺术审美定位[J]. 学术交流, 2001, 0(6): 146-148 |
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| 作者姓名： | 陈越红 |
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| 作者单位： | 哈尔滨工业大学,人文学院,黑龙江,哈尔滨,150006 |
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| 摘 要： | 电影中的音乐不同于音乐会上的节目,不再是它原有的面貌,而开始它深刻的质变过程,它以特殊的力量再现"心灵的辩证法",从而达到真正的艺术效果,正是作为电影载体的音乐,导致了电影音乐观念的深度的消失与尝试着回到平面上来,并在同一时间内"现实效果"与脱离现实相结合,"幻想效果"与对情态的感染相结合,呈现出其独特的艺术魅力和审美特点.
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| 关 键 词： | 电影音乐 蒙太奇 互动 艺术审美 |
| 文章编号： | 1000-8284(2001)06-0146-03 |
| 修稿时间： | 2000-11-15 |
Art Aesthetic Orientation of Music in Film |
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| CHEN Yue-hong. Art Aesthetic Orientation of Music in Film[J]. Academic Exchange, 2001, 0(6): 146-148 |
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| Authors: | CHEN Yue-hong |
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| Abstract: | The music in cinema differs from performance in concert.It is not self-visage,but reappearance of spiritual dialectic by special vigor passing deep qualitative change.Then reach really art impression.Music of cinema induce deep vanish of cinema music concept and trying to backtrack plane and reach combining with reality impression and divorce from reality in the same time and combining imagine impression with feeling infect.It visualizes inimitable art fascination and aesthetic specialty. |
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| Keywords: | legend metigi pan-international visualize |
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