影片中的面部特写缘何夺目
Three reasons why we’re drawn to faces in film

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    《牛津大学出版社博客精选》第021期

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    牛津大学出版社
    Oxford University Press

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匈牙利电影理论家贝拉•巴拉兹认为,将电影与其他表演艺术形式(尤其是戏剧)区分开来的,正是人的脸部特写。与舞台剧不同,摄影机镜头能够让我们近距离观看人脸——洞视其双眸,打量每条肌肉伸缩的细微动作。在广角镜头盛行的年代,巴拉兹引导人们去注意面部表情和肢体动作作为电影中的表达工具所蕴含的力量。

Hungarian film theorist Béla Balázs believed that it is the close-up of the human face that distinguishes film from other performance arts, especially theater. Unlike a staged play, the camera can bring us up close to a face—to gaze deep into the eyes and examine every contracted muscle in intimate detail. During a time when the sweeping wide shot was in style, Balázs was instrumental in bringing attention to the power of expression through face and body in film.

“好的特写宛如诗句般感情洋溢,只有用心而非用眼去看,方可感知。”

  • 影片中的面部特写缘何夺目

  • Three reasons why we’re drawn to faces in film

  • 让人成为画面的点睛之笔

    众里寻他千百度,蓦然回首,那人却在灯火阑珊处。关注人脸,共情他人,是人类的本能。大景别镜头中把人脸处理好,可以让观众更深刻地理解电影的背景。特写人脸,则可以产生与观众深度的共鸣。除此之外,镜头的长短、格调甚至音乐都可以起到润色情感的作用……获益匪浅!展开↓