電影敘事多元化及其內(nèi)在元素的構(gòu)架——以原創(chuàng)作品境遇為例

1、學(xué)校代碼：10270 分類號(hào)：J90 學(xué)號(hào)：132502047碩 士 專 業(yè) 學(xué) 位 論 文電影敘事多元化及其內(nèi)在元素的構(gòu)架——以原創(chuàng)作品《境遇》為例專業(yè)學(xué)位類別： 藝術(shù)碩士專業(yè)領(lǐng)域： 廣播電視作者姓名： 王紫玥指導(dǎo)教師： 王 方答辯日期： 2016 年 5 月 30 日Abstract Shanghai Normal University Master of PhilosophyIIAbstractFilms developed gr

2、adually from recording “realism“ (Auguste Marie Louis Nicholas, 1862-1954; Louis Jean, 1864-1948) to showing story using specific way (D.W.Griffith). When Griffith added the montage technique in 1908, the films began to

3、haveits unique rhetoric. With the rhetoric improving, the fragmentation and fracture of narration got strengthened, the obscurity and uncertainty of story were been enforced, which thoroughly increased people’s interest

4、to the story. The story is different, and theway to narrated is different.One argument holds the point that films’ narration should have specific plot,which means only plot makes story. Abram defines plot as “the structu

5、re of changingthe story in drama and narrative movies”, that is to say, such causality is the key tonarrative films. The other point claims that films don't require too much emphasis onplot and clearly relationship a

6、nd behavior on characters, and make more complicatedand non-plot scenes. This is quite different with plot narration (linear narration),mainly focus on artistic conception instead of story (non-linear narration).This the

7、sis is mainly about discussing the most common narrative methods instory constructing (the classical narrative films with Hollywood background and theNon-linear narrative films with artistic conception). Both modes provi

8、de basicfundamental to Circumstances’s overall creation, and also a introspection to artisticfilms and pure commercial films. The last chapter mainly discusses the difficultiesencountered, the approaches and the experien