游走的风景:沉浸于诗意美学中的中国电影画面探索

Wandering Landscape: An Exploration of Chinese Film Scene immersed into Poetic Aesthetics

中国电影在创作模式多元化、类型化与市场化的三重束缚下不断求新突变,试图从画面追根溯源来探索出一条不失本土语言的表达方式,以独有的东方气质与画面美学面向国际观众去讲述属于中国的故事。纵观近几年各大电影节的中国热,两岸三地佳作涌现、人才辈出。2016年我国电影《长江图》和《路边野餐》成功展映于各大国际影展,并获得了众多艺术奖项。两部影片均以诗入画、以画咏诗,在现实与记忆之间以独特的东方式画面美学,尤其在镜头语汇及画面设计上颇具匠心,广受中西方观众的赞誉与追捧。两者将诗性语境下的叙事表达、艺术表现凝结于影片画面中,远离喧嚣与浮躁,沉浸于水云之上、山河之间,用诗意的情怀探索着中国电影的独特个性。

Chinese film is exploring a local expressive means in the breakthrough of pluralism, categorization, and marketization of creative modes, and narrates Chinese tales to international audiences with peculiar oriental scenes. In recent years, China has become a hot word in many kinds of film festival. In 2016, Chinese film Yangtze River and Picnic On Roadside showed in several international film exhibition and got several art prizes. These two films are poetic and are highly praised for their peculiar oriental scene aesthetics especially their original shot languages and frame design. They well integrate poetic narration and art representation into film scenes, which make the audiences im- mersed into the waters and mountains far away from urban noise and restlessness.