北美作业代写：Cinematography

下面为大家整理一篇优秀的paper代写范文- Cinematography，供大家参考学习，这篇论文讨论了电影语言学。电影是一门充满无穷魅力的艺术新形式，人们对电影的研究已经有很长时间了，但对电影语言学的研究才刚刚起步，而且充满争议和质疑。但随着研究的深入发展，电影语言学这门电影的分支学科逐渐被人们所接受所理解，并取得了一大批研究成果。

In the west, the study of film language has gone through three stages of development, especially in the 1960s and 1970s, when the study of film linguistics represented by the French Christian metz was popular and influential. However, the study of film linguistics in China has experienced the development of translation, integration and integration. Although the later theoretical circles of Chinese and foreign films all went to the diversified film research, but did not break away from the film language form research. Linguistic research on film is still promising.

Film is a new art form full of charm. There have been many studies on film in the past century, but the study on film linguistics is still in its infancy, and it is full of controversy, much derision and doubt. However, with the further development of the research, the branch of film linguistics has been gradually accepted and understood, and a large number of research achievements have been made. This paper is intended to give a brief overview of the research results of Chinese and foreign film linguistics, and give some thoughts on the existing problems.

In the west, the study of film semiotics as a language and as a language has a long history. Throughout the history of film development, the study of film language in the west has gone through three stages.

The first stage is the study of "film language" before the 1960s, that is, the language study of traditional films. "Film language" is just a metaphor, which generally refers to "means of expression". Rather, it refers generally to the technical means of producing the effects of various films. The study of film language plays an important role in eisenstein's thought, as does, to some extent, that of bazan. And many critics often try to make an analogy between film and language. So sometimes we see comparisons between shots and words, scenes and sentences, paragraphs and paragraphs.

Most of these studies are casual associations. The French film theorist Martin mardin's film language tries to make the study of "film language" explicit. This book, starting from the concept that film images are the basic elements of film language, discusses the relationship between film language and literature, painting and music, as well as its expression in montage, depth of field, dialogue, space and time. The author points out: "the film has its own handwriting - it is embodied in every director in style - and it becomes language and even a means of communication, intelligence and propaganda. ...... The film is a language, and this is the point which this book attempts to prove by analyzing the film's flexible and effective use of a large number of expressive means in comparison with the spoken language. "However," the language of film started as a simple representation of a film performance or reality, and gradually became a language, that is, a means of narrating stories and conveying ideas. Finally, the author concludes: "the film has an extremely complex and colorful language, which is able not only to flexibly and accurately reproduce events, but also to flexibly and accurately reproduce feelings and thoughts. From market shows, to civilized dramas, to the instruments of recording the things of the time, the film has gradually become a language-a language in which artists can express their thoughts and aspirations with the precision and accuracy of today's essays and novels.

The second stage refers to the study of film linguistics represented by France in the mid-1960s and 1980s, namely the study of modern film theory. This study of "film language" is totally different from that of traditional "film language". In 1964, the famous French film theorist Christine metz published the film: language system or language? The article. This paper USES saussure's structuralist linguistic research method to treat film as a special form of image language, that is, an ideographic symbol with certain determinacy. This kind of research opens the prelude of the study of western film linguistics, which is also the first stage of the study of the author's film semiotics.

Metz clearly pointed out that the existence of film linguistics is completely justified, and it can be studied on the basis of linguistics, namely, semiotics, which was proposed by saussure. But he also thinks that he has not found something similar to the language system in the film, so the film is a "language without language system". "The film symbologist can get general inspiration from linguistics, but no technical concepts of linguistics can directly help him to conduct detailed research, and no usage concepts of linguistics can be copied into film studies."

In the late 1970s, Christian metz's "imaginative signifier: psychoanalysis and film" introduced the psychoanalytic thoughts of Freud and Jacques lacan, combined with the theory of film semiotics, and comprehensively explained the psychology of film mechanism, subject watching process and subject creation process. The "imagination" is the language of psychoanalysis, and "can refer" is the language of structuralist linguistics. The combination of this word indicates the author's intention to study the film by combining psychoanalysis with linguistic methods, that is, to study the film as a dream and as a language. This work is an important sign of the transformation of his film semiotics theory, which is called the stage of the study of film semiotics.

Metz's first semiotics is just a formal study of the film, but a pure language study in the film text; In the second stage of film semiotics, the author did not abandon the research mode of linguistics, but combined the mode of linguistics and the mode of psychoanalysis, and added the study of audience, making the noumenon study of film into the cultural study. In particular, the author attaches great importance to the film to get the audience's deep psychological structure, meaning and accept the social structure of the film study, film this build dream machine is how to use perceived analytic methods and skills, by creating unique viewing situation, stimulate, "suture" the audience to produce identity of illusion and desires, to illustrate the film is essentially a catered to viewing the main body the inner desire and demand of the construction of the similar sex.

The third stage is the stage of making film a language, which is the mature stage of film language. In the 1980s, the trend of French structuralism declined, and the film theory of structuralism semiotics weakened its influence. The center for theoretical film studies also moved from Europe to the United States. The mainstream film theory in the United States tends to be practical, paying attention to the study of film style, film technology and cognitive psychology. Its research status is different from the trend of French film research 20 years ago. This difference is mainly the application and development of digital technology in film field at the end of 20th century. New digital technologies are bound to lead to new movie ideas. The development of digital technology will bring great innovation to film language. The essential difference between the film in the digital age and the traditional film is that it can show us not the changes of light and shadow recorded in the real material world by the chemical reagent on the film through optical lens and mechanical motion, but the visual magic created by computer through digital combination. Digital technology further enriches the image "vocabulary" of film language, bringing great changes to the generation of image, and making its expression field and modeling methods expand unprecedented. However, digital technology has not led to the formation of too much creative film language "grammar". Digital technology has given film language infinite space to expand, but because the present stage is in the groping stage, it has not formed the essential transcendence and contribution to the film language system.

The understanding of foreign film theories was first carried out through translation and introduction in the 1980s, and the understanding of film linguistics is no exception. For example, the above western classic film theory and modern film theory have published Chinese translations successively, such as "structuralism and semiotics -- translation anthology of film theory" edited by li xiaoyi, and "selected essays on foreign film theory" edited by li hengji and Yang yuanying. I'm afraid the most diligent introduction is li xiaojie. He not only translated a batch of famous western film linguistics and semiotics, but also paid early attention to the integration of these film theories. He also wrote modern western film aesthetic thoughts and other books, focusing on introducing the film semiotics theory represented by metz.

As the author of the second postscript says, jia leilei's "introduction to film linguistics" is "the first academic monograph on the study of film by means of linguistics in mainland China". The author adheres to the principle of "the study of an art should be a study of artistic linguistics, a study of the way and meaning of artistic language expression". From the cultural interpretation of film language and the nature and function of film criticism, from the film's viewing psychology to the star mechanism, etc. Although later, the author's cognition of film began to gradually enter the social, historical and cultural fields related to film from the visual language system of film art. In the past, we used to regard film as a language system with independent aesthetic value, but now, we prefer to regard film as a social text with historical significance. However, the author still believes that this exploration and construction of linguistics is necessary and very meaningful.

Wang zhimin's film linguistics is also a masterpiece of film linguistics. The author understands the development of western film theory, and is familiar with western film linguistics and semiotics theory represented by metz. The author traces the development of western film linguistics. From the classical film theory, which regards film language as a means of artistic expression, to the modern film theory, represented by the film semiotics pioneered by metz, pasolini and eco. From the perspective of modern linguistics, modern philosophy and modern science, the author has fully demonstrated and expounded the possibility of film becoming a language. The author believes that the establishment of the film language system can better develop the artistic expression of the film means. On the contrary, only the establishment of the film language system can fully tap the performance potential of the film means. The author turned the former pure language theory research into a creative thought to guide the shooting practice.

To sum up, there are considerable achievements in the studies of film linguistics and semiotics in ancient and modern China and abroad. However, the linguistic study of film is a method and means to study film, and its limitations are also obvious. The development of western film theory has gone through three stages: traditional film theory, modern film theory and diversified development. It is an inevitable trend for modern film theory to focus on the study of language and social culture and become a diversified film theory. Since the 1990s, various theoretical concepts, research perspectives and research methods of film theoretical research have been flourishing up to now. However, "although different schools of film theory research in modern times have different values and purposes, they all take the formal features of film language as the logical starting point of film research. Some of them recognize the film's ideological meaning from the film's scene scheduling; Some read the film's gender characteristics from the color, light and composition of the image. Some people judge the type of film by the sequence of shot editing. In conclusion, they still adhere to the academic tradition of "understanding films in the way of films" in the overall research methods. That is to say, their position may vary, but their interpretation basis, they conducted analysis not only have not departed from the film's audio-visual language, the more clearly stand on the basis of the description of the film language form the criticism method in terms of technical operations are "cinematic"."

Therefore, the study of film linguistics is of great significance. For Chinese film researchers, it is important not to copy the western linguistic terms, but to link the theory with Chinese film practice, and to be well integrated. We should attach importance to the study and exploration of film technology, seize the opportunity of the development of film digital technology, and create the linguistic theory and theory of film with Chinese characteristics.

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