論圖伊曼斯作品對影視語言的借鑒
發(fā)布時(shí)間：2018-08-07 21:03
【摘要】：從中世紀(jì)開始的“文字讀圖”時(shí)代進(jìn)入了“圖像時(shí)代”,各種“機(jī)器圖像”充斥著人們的生活,盡管當(dāng)代藝術(shù)中占據(jù)著主要地位的依舊是繪畫,但繪畫和機(jī)械圖像的結(jié)合意味著更多偶然性和可能性。在網(wǎng)絡(luò)數(shù)字化時(shí)代,以數(shù)碼機(jī)器產(chǎn)生的影像資源、圖像信息被人們以各種途徑傳播——電腦、電視、廣場電子顯示屏、手機(jī)等,圖像資源有種趨向圖像文化的發(fā)展;而架上繪畫在從被邊緣化中重新崛起,與許多其它審美表現(xiàn)的藝術(shù)形式在平等的基礎(chǔ)上平行共存,從事繪畫藝術(shù)的的藝術(shù)家們在新的環(huán)境下又能夠自我反省并重新界定自己的局限。這樣使得繪畫不再具有防御性、邊緣性。新時(shí)代的藝術(shù)家們的身份不僅是從事架上繪畫的畫家,也會從其他藝術(shù)身份,如攝影愛好者,電影剪輯師等,在其所學(xué)的技能中汲取營養(yǎng)。而在新媒體快速發(fā)展的今天,不需要客觀的真實(shí)的去描述現(xiàn)實(shí)中的真實(shí),也不需要在了解內(nèi)部結(jié)構(gòu)到外在表象后再去描寫對象,而更加注重使用生活中現(xiàn)成的圖像來表達(dá)他們的觀念、思想,他們的繪畫與時(shí)代是同步的。在通過對比利時(shí)藝術(shù)家呂克·圖伊曼斯(Luc Tuymas,1958—)的研究發(fā)現(xiàn):他不怕繪畫所面臨的困境。在機(jī)械圖像“肆虐”期間,他通過大眾媒介,且他自身在影視行業(yè)一段時(shí)間的工作,讓他有了更多的接觸影像的手段,乃至后來的數(shù)碼化媒體影像,這些拍攝影像的經(jīng)驗(yàn)也應(yīng)用到他的繪畫創(chuàng)作中。本文一共從五個(gè)章節(jié)進(jìn)行論述。第一章為緒論,論述研究的背景和原由。第二章是對呂克·圖伊曼斯的生平進(jìn)行論述,有關(guān)他的繪畫特征和他轉(zhuǎn)行電影行業(yè)的緣由,以及為什么他最終還是回歸繪畫藝術(shù)。第三章是全文的重點(diǎn),重點(diǎn)論述影視語言的相關(guān)概論和圖伊曼斯作品是如何呈現(xiàn)了相對應(yīng)的影視語言及怎樣的借鑒,圖伊曼斯借用這些影視語言在對其作品主旨表達(dá)時(shí)的情感體現(xiàn)和作品內(nèi)涵深度。第四章節(jié)是結(jié)合筆者自己的創(chuàng)作談對影視語言的認(rèn)識,通過在研究圖伊曼斯繪畫作品來學(xué)習(xí)他是如何借用影視語言的,同時(shí)也可以從實(shí)踐的角度指導(dǎo)自己如何面對當(dāng)下藝術(shù)語境,進(jìn)行藝術(shù)創(chuàng)作。第五章是總結(jié)性的話語,對于影視語言在繪畫中的運(yùn)用,不能被動(dòng)的被科技媒介所牽引,要發(fā)現(xiàn)兩者之間的關(guān)聯(lián)性、共通性,并且要兼顧繪畫語言本身的特點(diǎn)。通過搜集的文獻(xiàn)資料研究、分析圖伊曼斯的個(gè)人經(jīng)歷和藝術(shù)特征,再從其作品圖冊和相關(guān)展覽的報(bào)道記錄,加之查閱相關(guān)影視書籍,對比分析其繪畫作品是如何借鑒影視語言、如何選取剪輯圖像且合理的運(yùn)用在繪畫創(chuàng)作上�？傊�,在人工智能化的網(wǎng)絡(luò)下,人類對技術(shù)力量的依賴會愈加明顯,但是繪畫作品并不是表達(dá)藝術(shù)家對所繪之物畫的有多像,而是展現(xiàn)人類在面對未來和回顧歷史時(shí)其意義的深遠(yuǎn)度。所以,不管是攝影技術(shù)還是影視媒體、先進(jìn)的互聯(lián)網(wǎng)軟件,都無法代替人們用畫筆來反觀他們的對世界的真實(shí)感受,表達(dá)內(nèi)心的愿望和實(shí)現(xiàn)對他者的交流。
[Abstract]:From the era of "text reading" from the Middle Ages to the "image age", various "machine images" were full of people's life. Although the main position of contemporary art is still painting, the combination of painting and mechanical image means more chance and possibility. In the digital age of the network, the digital machine is produced. Image resources, image information is spread by people in various ways - computer, television, square electronic display screen, mobile phone and so on, image resources have a kind of trend of image culture, while on the shelf, painting is rising from the marginalization, coexisting parallel with many other artistic forms on the basis of equality and engaging in painting art. Artists can introspection and redefine their limitations in the new environment. This makes painting no longer defensive and marginal. The identity of the artists in the new era is not only the painter who works on the shelf painting, but also from other artistic identities, such as the good photographers, the film clips, and so on, in the skills they have learned. In the rapid development of the new media, it is not necessary to objectively and truly describe the reality in reality, nor need to describe the object after understanding the internal structure to the external appearance, but more attention is paid to the use of the existing images to express their ideas and ideas. Their paintings are in sync with the times. The study of Luc Tuyma (Luc Tuymas, 1958), a Belgian artist, found that he was not afraid of the plight of painting. During the "ravage" of the mechanical image, he had a mass media, and his own time in the film industry, made him have more contact images, and even later digital media images. The first chapter is the introduction of the five chapters. The first chapter is the introduction, the background and the origin of the study. The second chapter is about the life of Luc Tuyma, the characteristics of his painting and the reasons for his transfer to the film industry, and why he finally returned to return. The third chapter is the focus of the full text, focusing on the related introduction of film and television language and how Tuyma's works show the corresponding film and television language and how to draw lessons from them. Tuyma borrows the emotional expression of the theme and the depth of the intension of his works by borrowing these film and television languages. The fourth chapter is a combination of the author himself. The creation of the film language knowledge, through the study of Tuyma painting to learn how he borrowed film and television language, but also from the perspective of practice to guide how to face the present artistic context, the art creation. The fifth chapter is a summary of the discourse, the use of film and television language in painting, can not be passive. It should be traced by the medium of science and technology, to find the relevance and commonality between the two, and to take into account the characteristics of the painting language itself. Through the study of the collected literature, it analyses Tuyma's personal experience and artistic features, and then from his works and related exhibitions, and the related film and television books. How does the painting draw on the film and television language, how to select the editing image and use it reasonably in the painting creation. In a word, under the artificial intelligence network, the human dependence on the technical force will become more obvious, but the painting does not express the artist's image of the painting, but shows the human being in the face of the future and retrospect. The far-reaching significance of history, therefore, no matter photography or film and television media, advanced Internet software, can not replace people to use painting to reflect their true feelings to the world, express their inner wishes and realize the exchange of the other.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J204
本文編號：2171335
[Abstract]:From the era of "text reading" from the Middle Ages to the "image age", various "machine images" were full of people's life. Although the main position of contemporary art is still painting, the combination of painting and mechanical image means more chance and possibility. In the digital age of the network, the digital machine is produced. Image resources, image information is spread by people in various ways - computer, television, square electronic display screen, mobile phone and so on, image resources have a kind of trend of image culture, while on the shelf, painting is rising from the marginalization, coexisting parallel with many other artistic forms on the basis of equality and engaging in painting art. Artists can introspection and redefine their limitations in the new environment. This makes painting no longer defensive and marginal. The identity of the artists in the new era is not only the painter who works on the shelf painting, but also from other artistic identities, such as the good photographers, the film clips, and so on, in the skills they have learned. In the rapid development of the new media, it is not necessary to objectively and truly describe the reality in reality, nor need to describe the object after understanding the internal structure to the external appearance, but more attention is paid to the use of the existing images to express their ideas and ideas. Their paintings are in sync with the times. The study of Luc Tuyma (Luc Tuymas, 1958), a Belgian artist, found that he was not afraid of the plight of painting. During the "ravage" of the mechanical image, he had a mass media, and his own time in the film industry, made him have more contact images, and even later digital media images. The first chapter is the introduction of the five chapters. The first chapter is the introduction, the background and the origin of the study. The second chapter is about the life of Luc Tuyma, the characteristics of his painting and the reasons for his transfer to the film industry, and why he finally returned to return. The third chapter is the focus of the full text, focusing on the related introduction of film and television language and how Tuyma's works show the corresponding film and television language and how to draw lessons from them. Tuyma borrows the emotional expression of the theme and the depth of the intension of his works by borrowing these film and television languages. The fourth chapter is a combination of the author himself. The creation of the film language knowledge, through the study of Tuyma painting to learn how he borrowed film and television language, but also from the perspective of practice to guide how to face the present artistic context, the art creation. The fifth chapter is a summary of the discourse, the use of film and television language in painting, can not be passive. It should be traced by the medium of science and technology, to find the relevance and commonality between the two, and to take into account the characteristics of the painting language itself. Through the study of the collected literature, it analyses Tuyma's personal experience and artistic features, and then from his works and related exhibitions, and the related film and television books. How does the painting draw on the film and television language, how to select the editing image and use it reasonably in the painting creation. In a word, under the artificial intelligence network, the human dependence on the technical force will become more obvious, but the painting does not express the artist's image of the painting, but shows the human being in the face of the future and retrospect. The far-reaching significance of history, therefore, no matter photography or film and television media, advanced Internet software, can not replace people to use painting to reflect their true feelings to the world, express their inner wishes and realize the exchange of the other.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J204
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