嵌入与脱域:技术美学视角下的李安电影

Embedding and Delocalization:Ang Lee’s Film from the Perspective of Technical Aesthetics

从2012年的《少年派的奇幻漂流》,到2016年的《比利·林恩的中场战事》,再到2019年的《双子杀手》,李安导演推陈出新,力图在影片题材和技术特效上不断突破自我,展现了自身对于技术电影的不懈追求。此般电影创作探索呈现出李安电影艺术与技术融合又脱离的特征。本文将以李安电影技术层面、艺术层面多维度的关系为出发点,立足于电影技术美学视角,剖析李安以上三部电影作品中艺术形态融合又脱离的具体表现方式,归纳其影像文本技术美学的独特表征等问题。

From“The Fantastic Drifting of the Youth Pie”in 2012,to“Billy Lynn’s Midfield War”in 2016,and then to“Gemini Killer”in 2019,Director Ang Lee brought forth new ideas and tried to use the themes and technical special effects of the film.Continuous breakthroughs in the above,showing his unremitting pursuit of technical films,such a film creation exploration presents the characteristics of Ang Lee’s film art and technology fusion and separation.“Embedding”and“Delocalization”will start from the multi-dimensional relationship between Ang Lee’s film technology and art,based on the aesthetic perspective of film technology,and analyze the specific expression methods of Ang Lee’s integration and separation of artistic forms in these three film works,Summarizing the unique characterization of the“technical aesthetics”of its video text and other issues.