论法国导演让—皮埃尔·梅尔维尔的作者风格.pdf

摘要有“新浪潮之父”之誉的法国导演让一皮埃尔·梅尔维尔在其短短的艺术生涯中为电影史留下了13部作品,从他的第一部长片‘海的沉默》到最后一部《大黎明》,梅尔维尔的作品都显示出了极为强烈的风格化,特别是他中后期的警匪电影,更是成为各个电影时期所膜拜的电影范本。本文将从电影文本出发讨论梅尔维尔的个人创作,从主题、符号、叙事、电影语言、美学观等角度研究其电影作品中保持一致的作者风格。尤其是他的影象与声音系统如何在他独特的叙事风格的指导下,形成区别于经典好莱坞的叙事形式系统,将简单的剧情制造出有梅尔维尔烙印的高度紧张节奏。本文还将梅尔维尔的电影风格置于历史语境,通过比较研究,从其电影三个阶段的代表作品中,发掘出他的“两个独创试验”和“一个黑色世界”中所体现的风格化在电影史上的坐标。前期结合与罗伯特·布列松作品中诸多不谋而合之处,探讨其在第一部作品中所提出“将影象与语言对立”的电影风格试验在电影本体上跨出的突破性一步。转型期以他的作品在首创性的创作手法与电影语言, 证实这位“新浪潮之父”对让一吕克·戈达尔、弗朗索瓦·特吕弗等新浪潮导演的启蒙性影响。而他创作后期的集其风格之大成的警匪电影,则贯穿与美国黑色电影以及法国本土犯罪电影的横向比较,研究梅尔维尔风格在世界化和本土化之间的独特性;亦贯穿吴宇森、杜琪峰等为代表的暴力美学作品对于梅尔维尔风格的继承与发扬,通过纵向比较研究梅尔维尔的作者风格对于后世的影响。完成从大师作品解读既而到风格解读,为现代电影创作提供借鉴的意义。关键字:梅尔维尔风格类型文本分析警匪片黑色电影 Abstract The French director Jean-Pierre Melville。famed as“Le Pere De La Nouvelle Vague”,has left 13works inthe film history within his short art his first long film“Silence de laMer,Le”to the last work“Un Flic”.all the works ofMelville expressed the idea ofextremely strong particular,the crime movies in his late period have been the models worshiped in all film times. This essay shall discuss the personal creations ofMelville from script point ofview,and analyze the consistent author style inhis works from the angles oftheme,symbol,narration,film language and esthetics, etc.,especially how his image and sound systems,under the direction of his unique narration style,form the narration system which is distinguished from the classic Hollywood style,inventing the highly tense rhythm branded with Melville characteristics in simple stories. This essay shall also,having theMelville pared and studied from history point ofviewamong his representative works inthree periods。 excavate the stylization marks reflected from his“Two Original Trial” and“One Black World”in film undersigned coincidences with the works of Robert Bresson inhis early period shall beused to discuss the Film Style Trial of“Opposition ofImage and Language”adopted in his first wok,which isthe first step in the film essenc