电视剧情片《玻璃缸里的金鱼》的设计与实践毕业论文.doc

毕 业 论 文

电视剧情片《玻璃缸里的金鱼》的
设计与实践
The feature film “The goldfish in the glass container”
Design and practice


摘 要
美国电影理论家斯坦利·梭罗门认为，声音进入电影，引起了电影美学观念的变化。他在《电影的观念》一书中进一步指出，由于声音进入电影，使得影片中人物对话成为可能，从而大大丰富了电影的艺术表现力，使得电影能够做到戏剧和小说一直在做的事了：讲述关于人的复杂故事，而且故事中的人物能用语言来表述自己的问题。正因为如此，戏剧化电影便应运而生。所谓戏剧化电影，主要是指三四十年代在世界各国电影中占主导地位的电影样式，其特点是以戏剧冲突律为基础，采用传统戏剧式的结构原则。一般来讲，戏剧化电影并不照搬戏剧作品的结构形式，而是结合电影艺术自身的特点，将戏剧冲突律融会其中。
本短片《玻璃缸里的金鱼》以三段有关爱的故事为主要情节，以戏剧化电影的特征为主要创作方向，具有明显的开端、发展、高潮和结局，按照戏剧冲突律来组织和推进情节，大量利用悬念、巧合、误会、偶然性等，强调以情动人。短片以94年夏天、97年夏天、99年夏天为三个时间段，讲述了发生在三个女孩身上的故事，或有关爱情、或有关友情、或有关亲情。但无论故事的发生发展和结局如何不同，它们都有一个共同的主题，就是存在于人与人之间、在苦难的时候给人以鼓励、在憎恨的时候让人学会宽容的力量——爱。短片围绕一间小屋、玻璃缸里的金鱼还有一群背后藏有故事的人展开，试图做到在向观众传递某种情绪的同时，渗透爱的情感和生活的力量。
关键词：戏剧化电影；结构；玻璃缸里的金鱼；爱
Abstract
The American film theorist Stanley Solomon stated that, since the sound has become an important element of the film art, the concept of the film aesthetics has changed. In the book of “The concept of film”,he further pointed out that,because of the sound has become an important element of the film art that it makes the dialogues between pople in the film possible which could greatly enriched the film’s artistic expression. And this could make the film to do the things which drama and fiction always do: tell complex stories about people, and the characters in the stories could use language to express their own problems. For this reason, the dramatic films came into being. The so-called dramatic films mainly refer to the dominant type of film all around the world in the 2020s and it based on the law of the conflict which uses traditional dramatic principles of structure. Generally speaking, the dramatic films doesn't copy the structure of dramatic works but tell stories where the conflict set combing with the characters of the film art itself.
The main plot of the film “The goldfish in the glass container” is three paragraphes of love stories and the pr