浅析是枝裕和电影中的日式家庭美学

A Brief Analysis of Japanese Family Aesthetics in Hirokazu Koreeda’s Films

本文从日本文化中家庭观念的历史与由来、家庭观在文学与电影中的体现入手,将日本导演是枝裕和的代表性作品《无人知晓》《步履不停》《如父如子》《海街日记》等纳入此分析视野中。文章试图剖析是枝裕和如何运用独特的电影美学来阐释和描绘“家庭主题”,关注“个体生命”,并且深入分析两个方面:其一,在导演自成一体的美学语境下,作品在镜头语言、叙事结构、道具和场景等方面的表达;其二,从人物关系、人物身份、人物视角等方面来表现、传递重要的家庭“人物塑造”。最后,也由此延伸了关于是枝裕和对于日本电影产生的影响。本文试图通过对是枝裕和电影美学风格的创作探讨来整体观想、了解亚洲电影文化中的“家庭美学”,并由此启示中国电影中家庭电影类型的创作。

This thesis will give a brief analysis of Nobody Knows,Still Walking,Like Father,and Our Little Sister,Hirokazu Koreeda’s representative works,from the perspectives of the history and origin of family aesthetics in Japanese films and the manifestation of family values in literary works and films.This thesis attempts to analyze how Hirokazu Koreeda explains and depicts family themes and focuses on every individual with his unique film aesthetics.In-depth analysis will go to two aspects:first in his specialized aesthetic situations,how lens language,narrative structure,stage property and scene express the thought and second,how the significant family characterization is completed through character relations,character identities and character’s point of view.Eventually,Hirokazu Koreeda’s influences on Japanese films will be evaluated based on fore-mentioning analysis.This thesis intends to gain a panoramic picture of family aesthetics in Asian filming through the discussion of Hirokazu Koreeda’s aesthetic style and thus gives inspiration to the creation of Chinese family films.