论电影节奏的时空组合逻辑

On the Spatiotemporal Composition Logic of Film Rhythm

节奏是电影最具形式化的要素,向来是电影理论研究的难点。在音乐节奏向电影节奏迁移的过程中,音乐轻重缓急等节奏规则被视觉化降维处理后,转化成电影松紧快慢的画面节奏感。电影具有三种节奏:一是因景别落差形成的主观时间、微观层面上的基础节拍;二是由镜头密度导致影片在外部样态上所呈现的物理节奏;三是由情节密度聚合成叙事层面的内部故事讲述节奏。

Rhythm is the most formalized element of films,and it has always been a challenging subject in film theory.In the process of translating musical rhythm into film rhythm,the rhythmic rules of music such as emphasis,intensity,and tempo are visualized and reduced to create a sense of visual rhythm in the pacing and speed of the film's imagery.There are three types of rhythms in a film:firstly,the subjective time formed by the disparity between scenes and the basic beats at the micro level;secondly,the physical rhythm of the film,which is presented in its external form due to shot density;thirdly,the storytelling rhythm formed by the aggregation of plot density during the narration process.