视听语言教学课件：第一讲+双语 电影的本体观念

1、第一讲 电影的本体观念 The Noumenon of Film 电影、纪录与其他艺术电影、纪录与其他艺术 Film, Recording, and the Other Arts vGood afternoon, colleges and friends. Im a teacher from the department of communication, college of art. Today Im going to present you the Audio-Visual Language course. Based on the combination of sound and vi

2、deo, the audio-visual language is the tool of communication for film and TV. Its study originated in Europe and US, so its necessary to launch the bilingual education with classic textbooks. vWhat I chose is the classic American textbook, How To Read a Film. Published by OXFORD UNIVERSITY PRESS, NEW

3、 YORK. v各位领导、各位老师： v下午好！我是来自艺术学院传 媒系的老师，今天我讲授的是 视听语言这门课程。视听 语言是电影电视依托视觉与听 觉两种器官，用声音和影像的 综合形态进行思想、情感交流 的工具，对它的研究源自欧洲 和美国。引进经典教材开展双 语教学很有必要。 v我选用的是美国经典教材 How To Read a Film. Published by OXFORD UNIVERSITY PRESS, NEW YORK. vTo learn the audio- visual language, firstly we have to learn what is film. Bec

4、ause film is the first generation of audio-visual media and audio-visual language came into being from film. So our course doesnt begin from audio-visual language itself but film, which is the media material of audio-visual language. v要学习视听语言我们首 先要了解电影，因为， 电影是第一代视听媒介， 视听语言的形成正是从 电影开始的。因此，我 们的课程不是从学习

5、视 听语言本身入手，而是 从了解视听语言的媒介 材质电影入手。 第一节 电影电视是什么？ What is film and TV? v电影是记录机器。 Film is a recording machine v电影是技术媒介。 Film is a technological media. 任何艺术的规律首先取决于它的媒介材料。任何艺术的规律首先取决于它的媒介材料。周传基周传基 一、记录机器 Recording Machine v电影能记录所有能看见和听见的事物。电影能记录所有能看见和听见的事物。 Film can record everything that can be seen and h

6、eard. v它开始仅仅是作为一种纪录玩具而问世的。发明者它开始仅仅是作为一种纪录玩具而问世的。发明者 没有预料到它会成为一种语言工具。没有预料到它会成为一种语言工具。 At the beginning, it was invented as a recording toy to record . The inventor had not expected that it would become a language tool. The moving image that have being recorded looks just like what it is in life.毫不稀奇。

7、难怪毫不稀奇。难怪 vOne of the inventor Louis Lumire said “The cinema is an invention without a future,”. And indeed it might have appeared so in his day. v后来，人们在摆弄这个玩具时，发现它不仅能纪录动作，而且可以纪录有含义后来，人们在摆弄这个玩具时，发现它不仅能纪录动作，而且可以纪录有含义 的事实，比如其他艺术。的事实，比如其他艺术。 When people were using the recording toy, they found that it

8、could not only record movements, but also meaningful facts like other types of art. 早期的电影实验者在胶片上“绘画”，“写”小说，“演”话剧等等 The earliest film experimenters “did” painting in film, “did” the novel, “did” drama, and so forth. v电影被发现可以通过纪录手段来叙事。发现可以通过纪录手段来叙事。可以通过机器的纪录组合放映 来进行表达。 It was found that film could rec

9、ount by recording. By the process of Record- assemble-screen. v那么，机器纪录是艺术创造吗？ Then, is recording by technological media an art？It is the question. v在争论中，在被快速投入商业利用的同时，电影开始曲折地 探索自己的语言规律。 When being in dispute and swiftly thrown into commercial, When being in dispute and swiftly thrown into commercial

10、, film began the tough exploration of its own language film began the tough exploration of its own language regularities.regularities. v一句话，电影艺术通过复制动作过程和其他艺术发展了起来。 In short, the art of film developed by a process of replication. v我们还必须对电影的媒介材料做定性分析。 We also have to qualitatively analyze the media of

11、 film. v电影首先是机器，是工具，从一开始，电影和摄影 就是中性的：媒介存在于艺术之先。 First of all, film is machine and tool. From the beginning, film and photography were neutral: the media existed before the arts. 二、技术媒介二、技术媒介 Technological Media v电影的机器直接参与制作过程没有了光波声波的纪录和还放机器， 甚至断了电源或电压不稳，电影就不复存在了。 vThe film machine participates in pr

12、oducing process directly. Without the record of light wave and sound wave, player, power supply or stable voltage, film can no longer exist. 塑造一个人物形象要考虑光照、镜头的光圈和曝光时间等等。 When creating a figure, we have to consider the Illumination, aperture, exposure time and etc. 技术上的进步还在不断改变它们的创作形式，同时也在改变它们的美学。想想默片

13、时 代和今天的高清立体声电影有多大的不同。 Technical advancement is still changing their creative format as well as aesthetics. Think about how silence film is different from the HD (high definition) stereo film nowadays. v艺术和科学、工艺学紧密联系。事实上，照相、录音和电影， 都具有这些特征。 Art, science and technology connect with each other closely.

14、In fact, photography, sound recording and film have the same character. v它们组成了一个全新的表述形式，从历史来看，它们的发明 就象七千年前文字的发明一样重要。 They comprise an entirely new mode of discourse, the invention of photography, film, and sound recording as historically significant as the invention of writing seven thousand years e

15、arlier. 第二节第二节 电影和传统艺术的区别电影和传统艺术的区别 The Differences Between Film and Traditional Arts v电影和传统艺术有什么不同？电影和传统艺术有什么不同？ Then，what is the different? 绘画、文学等传统艺术：自然形成、顺序渐进。绘画、文学等传统艺术：自然形成、顺序渐进。 vPainting, literature and other traditional arts came into being naturally and developed step by step. 电影？是电影？是“被发明

16、的被发明的”！机器直接参与制作！机器直接参与制作 vWhat about film? It was “invented”! Machines participate in production directly. 除此以外呢？除此以外呢？ vWhats more? Lets see 一、电影和文学 Film and Literature 两弯似蹙非蹙柳烟两弯似蹙非蹙柳烟 眉眉, ,一双似喜非喜含情目一双似喜非喜含情目. . 态生两鬓之愁态生两鬓之愁, ,娇袭一身娇袭一身 之病之病. .泪光点点泪光点点, ,娇喘微娇喘微 微微. .闲静时如姣花照水闲静时如姣花照水, , 行动处似弱柳扶风行动处似

17、弱柳扶风. .心较心较 比干多一窍比干多一窍, ,病如西子胜病如西子胜 三分三分. . 宝黛初会2.rm v文学是用抽象的文字系统来进行思维的线性纪录 Literature is a linear record based on nonobjective text system. v电影电视对摄录对象进行直接精确的四维纪录 ( 线、光、空 间、时间。声音被某些人认为是第五维) 。 Film and TV record the objects in an accurate four-dimensional way. (line, light, space and time. Sound is t

18、hought to be the fifth dimension by certain people.) v传达出物理现实的准确信息：摄影机拍下来的一朵花就是那一朵花。 vConveys the information of physical reality accurately. There are a thousand Hamlets in a thousand peoples eyes. 但是一旦摄制成了但是一旦摄制成了 影视剧，这一个就影视剧，这一个就 是这一个。是这一个。 But once the films and teleplays are finished, what you

19、see is what you get. vFilm and the Novel v我们可以把电影和小说进行比较，来获得更清晰地认识。我们可以把电影和小说进行比较，来获得更清晰地认识。 We can compare film with novel to get a better understanding. v电影的叙述潜力是十分明显的，因此它不是和绘画、甚至不是和话剧， 而是和小说发生了牢固的联系。 The narrative potential of film is so remarkable that it has developed its strongest bond with th

20、e novel, but not with painting or even drama. v电影和小说都能用丰富的细节来讲很长的故事，并且是从讲故事者的角 度来讲的。 Both films and novels can tell long stories with a wealth of details from the perspective of a narrator. v首先，因为电影是在实际时间中推进的，因此，它更受到局 限。小说可以随时结束。一般来说，电影受到莎士比亚说的 “我们舞台上短短两个小时的历程”的局限。 First, because film operates in re

21、al time, it is more limited. Novels end only when they feel like it. Film is, in general, restricted to what Shakespeare called “the short two hours traffic of our stage.” v从小说转到影片时，事件的细节几乎都没有了，只有电视连 续剧才能克服这一缺点。 Almost invariably, details of incident are lost in the transition from book to film. Onl

22、y the television serial can overcome this deficiency. v电影虽然局限于较短的叙事，但是它还拥有小说不具备的画 面的可能性。不能通过枝节事件转达的东西可以翻译成画面。 这就是这两种叙述形式之间最基本的差别。 At the same time as film is limited to a shorter narration, however, it naturally has pictorial possibilities the novel doesnt have. What cant be transferred by incident

23、might be translated into image. And here we come to the most essential difference between the two forms of narration. v小说是由作家讲出来的，我们只能看见和听见要我们看见和 听见的东西。电影，从某种意义来说，也是由它们的作者讲 述的，但是我们看到和听到的远比导演的意图要多。 Novels are told by the author. We see and hear only what he wants us to see and hear. Films are, in a s

24、ense, told by their authors too, but we see and hear a great deal more than a director necessarily intends. v让小说家试图像电影那样细致地表现一个场面是不可思议的。 It would be an absurd task for a novelist to try to describe a scene in as much detail as it is conveyed in cinema. v更重要的是，不论小说家描写什么都要通过他的语言、他偏 见以及他的观点的过滤。而在电影中，我们

25、有一定的选择的 自由，挑选这个细节而不挑选那个细节。 More importantly, whatever the novelist describes is filtered through his language, his prejudices, and his point of view. With film we have a certain amount of freedom to choose, to select one detail rather than another. v电影观众能更积极自由参与艺术经验。白纸黑字是 始终不变的，但是银幕上的画面随我们注意力的调 整而不断

26、变化。在这方面，电影是一次更丰富的经 验。但是，它也是更贫乏的，因为消弱了许多讲述 者的个性。 The observer is free to participate in the experience much more actively. The words on the page are always the same, but the image on the screen changes continually as we redirect our attention. Film is ,in this way, a much richer experience. But it is

27、 poorer, as well, since the persona of the narrator is so much weaker. 二、电影、摄影与绘画二、电影、摄影与绘画 Film, Photography, and Painting v“活动映画”从表面上和绘画艺术最相近。 “Moving pictures” are on the surface most closely parallel to the pictorial arts. v技术的媒介在一个被公认的有限的，然而却是极其重要的方 面明显超越了油画和素描：它们可以直接记录世界的形象。 The technological

28、media were clearly seen to surpass painting and drawing in one admittedly limited but nevertheless vital respect.: they can record images of the world directly. v自文艺复兴的早期开始，模仿就是绘画美学 中的首要价值。今天，堆积如山的快照、报 纸照片、风景明信片使我们往往忽视了绘画 艺术的这一功能。 Since the early renaissance mimesis had been a primary value in picto

29、rial esthetics. Inundated now by myriad snapshots, newspaper photos, and picture postcards, we tend to downplay this function of the pictorial arts. v理所当然，照相术的新发明立即用于那项最有用的 工作：制作肖像。 Naturally, the new invention of photography was immediately applied to the task where it was most useful: the producti

30、on of portraits. v绘画同样作出反应。在照相术发展并日臻成熟的那 些年代，即大致从十九世纪四十年代到七十年代， 恰好是绘画理论脱离了模仿，朝着更为复杂的表现 迅速发展的年代。 Painting responded in kind. The years of development and maturation of photography, roughly the 1840s to the 1870s, are just those years in which the theory of painting was quickly developing away from mi

31、mesis and toward a more sophisticated expression. v在艺术史上，照相的发明和绘画的发展之间当然不 是简单的因果关系。但是这两种发展之间的关系不 仅仅是巧合。 There is certainly no simple cause-and-effect relationship between the invention of photography and these developments in the history of art. But their connection is more than coincidental. v电影对绘画

32、艺术所提出的强有力的挑战当然是它那 模仿能力的作用，然而还有一个因素使电影根本不 同于绘画：电影是活动的。 The strong challenge film presented to the pictorial arts was certainly a function of its mimetic capabilities, but it was also due to the one factor that made film radically different from painting: film moved. v绘画：属于空间艺术。具有同时性。 vPainting is spa

33、ce art with synchronicity. v影视：流动的色彩、形体、线条变化 vFilm and TV have changing colors, shapes and lines. v影视画面的平面性在两个镜头之间的运动的视觉关系，是绘画乃至造型艺术所不 具备的。 vThe planarity of frame is the moving visual relationship of two lens. Thats the lack of painting and plastic arts. 翻译以下几页 v绘画：利用不透明画布上的颜料反光，静态、平面、没有声音。 vPainti

34、ng, by using the glisten of paints on opaque canvas, is static, flat and soundless. 透视感从平面的透视构图、光影和色彩布局中体现。 Perspective layouts, light and colors carry out perspective v影视的荧幕是空白的，它所反射的是投射在空白荧幕上的光影。心理上感觉更像 窗户的透明玻璃。 vScreen is blank, it reflects the light that illuminate it and mentally it feels more

35、like the transparent glass of a window. 一旦光影投射在荧幕上，荧幕便消失了。 Once the light illuminates on the screen, the screen disappears. v绘画的画框截取现实空间的一部分，画框内是一个完整的世界。 vThe frame of painting selects a part of real space. The world within the frame is complete. v影视的画框连截取也不是，它是无限连续的现实空间的一部分，画框外的空间始 终存在着。 vBut the f

36、rame of film and TV is a part of the continuous real space. The real space out of the frame still exists. 影视表现运动中的影像，镜头也可以在空间运动。 Film and TV express the image in action. The camera lens can also move in space. v影视是运动中的空间取景，而这个空间要远远大于画框。 vFilm and TV is the framing of space and this space is far more

37、 larger than the frame of painting. v绘画是静态的，只有瞬间的时间性，不能表现过程。 vPainting is static with momentary time and cant express the process. 绘画的局限性正是其威力所在，凝固的瞬间可以创造意境。 The limitation of painting is exactly its advantage. The still moment creates artistic atmosphere. v影视是存在的（Being），是过程的。 vFilm and TV are being

38、. They are being in process. 影视通过时间表现，带来联想。 Expressing by the change of time, Film and TV brings association. 只能提供创造意境的素材。 Can only provides the material to create the artistic atmosphere. 三、电影与戏剧三、电影与戏剧 Film and Theater v在表面上，戏剧性影片似乎更接近于舞台剧。当然， 这是本世纪初的商业片的根源。但是电影在几个重 大的方面不同于舞台剧：它拥有绘画艺术的生动而 准确的视觉潜力；

39、它具有更大的叙事能力。 On the surface, theatrical film seems most closely comparable to stage drama. Certainly the roots of the commercial film in the early years of this century lie there. But film differs from stage drama in several significant respects: it has the vivid, precise visual potential of the pict

40、orial arts; and it has a much greater narrative capability. v在舞台剧与戏剧性影片之间的最突出的差别在于视点，正如 散文叙事体与电影叙事体之间的差别一样。我们看戏时按自 己的意志；我们看电影时只能按导演的要求去看。并且，我 们在电影里还有可能看到更多的东西。不言而喻的是，舞台 演员依靠声音来表演，而电影演员用面部表情。 The most salient difference between staged drama and filmed drama, as it is between prose narrative and film

41、narrative, is in point of view. We watch a play as we will; we see a film only as the filmmaker wants us to see it. And in film we also have the potential to see a great deal more. It has become a truism that a stage actor acts with his voice, while a film actor uses his face. v甚至在最近的地方，舞台剧的听众（注意我们用

42、“听众”这 个词，而不用观众）只能理解大手势。而电影演员由于可以 配音，并不一定要有一副好嗓子；对话可以事后补上。但是 他的面部必须格外有表现力，特别是当面部特写放大了至一 千倍的时候。 Even in the most intimate situation, an audience for a stage play (note the word we use“audience,” hearers not spectators) has difficulty comprehending all but the broadest gestures. Meanwhile, a film actor

43、, thanks to dubbing, doesnt even require a voice; dialogue can be added later. But the face must be extraordinarily expressive, especially when it is magnified as much as a thousand times in close-ups. v当我们考虑到电影可以使用“原始素材”，非专业 演员，甚至使用那些不知道自己被拍入镜头的人的 时候，舞台表演与电影表演之间的差别就显得更大 了。 When we consider in addit

44、ion that film can be made with “raw material,” nonprofessional actors, even people who arent aware theyre being filmed, the contrasts between stage acting and film acting appear even greater. v但是戏剧有一个比电影优越的方面，并且是很重大的优越性： 舞台是真人演的。如果说，电影能实现许多在剧院里未见过 的效果，仅仅是由于不连贯的拍摄造成的，那么在电影中表 演的人显然与听众毫不接触。 vBut theate

45、r has one advantage over film, and it is a great one: theater is live. If it is true that film can accomplish a great many effects unknown in the theater simply because it is shot discontinuously, it is also true that the people who perform in film are, quite simply, not in contact with the audience

46、. 第三节 电影是新的艺术 Film Is A New Art v最初，制作艺术的唯一方式是通过“实时”：歌唱家唱歌， 说书者讲故事，演员演戏。 Originally, the only way to produce art was in “real time”: the singer sang the song, the storyteller told the tale, the actors acted the drama. v在史前时代的画图以及（通过象形文字的）书写的发展代表 着传播系统的一个量的飞跃。 The development in prehistory of drawing

47、 and (through pictographs) of writing represented a quantum jump in systems of communication. v形象可以储存，故事可以保存，并且事后可以准确 地还原。艺术的七千年的历史实质上是这些再现媒 介的历史：绘画的和文学的。 Images could be stored, stories could be preserved, later to be recalled exactly. For seven thousand years the history of the arts was, essential

48、ly, the history of these representative media: the pictorial and the literary. v纪录媒介的发展从种类上和程度上都不同于再现媒 介的发展，从历史来看，纪录媒介的发明就象七千 年前文字的发明一样重要。 The development of recording media, different from representative media in kind as well as degree, was as significant historically as the invention of writing se

49、ven thousand years earlier. v照相、电影和录音总和起来，完全转变了我们的历 史透视。 Photography, film, and sound recording taken together have shifted completely our historical perspective. v再现艺术使现象的“再创造”成为可能。然而它们都要求使 用复杂的编码和语言程规。 The representational arts made possible the “re-creation” of phenomena, but they required the co

50、mplex application of the codes and conventions of languages. v此外，那些语言是由个人掌握的，因此，选择的因素过 去和现在在再现艺术中都具有极大的重要意义。这一因 素是大多数绘画和文学艺术的美学的源泉。美学家所感兴趣 的不是说什么，而是怎样说。 Moreover, those languages were manipulated by individuals and therefore the element of choice was and is highly significant in the representational

51、 arts. This element is the source of most of the esthetics of the pictorial and literary arts. What interests estheticians is not what is said but how it is said. v纪录艺术则截然相反，它提供了题材与观察者之间 更为直接的通信线。 In stark contrast, the recording arts provide a much more direct line of communication between the subject and the observer. v它们确实有自己的编码和程规，确实，一部影片或 录音毕竟不是现实。 They do have their own codes and conventions, its true: a film or sound recording is not reality, after all. v然而纪录媒介的语言比文字语言或图画语言都要简单得多， 并且不是那么捉摸不定。 But the language of th