上海视觉

上海视觉 ›› 2024, Vol. 0 ›› Issue (1): 36-40.

• 理论研究 • 上一篇    下一篇

清醒的梦境——费里尼场景营造手法研究

后盾   

  1. 上海视觉艺术学院,上海 201620
  • 出版日期:2024-02-20 发布日期:2024-07-10
  • 作者简介:后盾(1975 — ),男,同济大学博士。上海视觉艺术学院基础教育学院副教授。主要研究方向为艺术学。

Sober Dreamscapes: A Study of Fellini's Scene-Creation Techniques

HOU Dun   

  • Online:2024-02-20 Published:2024-07-10

摘要:

费里尼在影片中营造虚幻场景时,既把它们与现实相融合,又刻意保持其独立性,与现实相互对立。在一些半自传影片中,室外是真实的城市,室内则是在摄影棚里打造的虚幻场景。在描写真实场所的影片中,通过加入虚幻事物赋予日常环境以独特个性;而在表现梦境的影片里,又会出现现实中的细节。一些虚幻的场景被塑造成马戏团或剧场式的空间,带有强烈的舞台效果,由此造成了场景的“间离效果”,提醒观众这些空间与现实的差别。正是通过这些手法,费里尼在现实与虚幻的融合与并置间保持了足够的张力。

关键词: 费里尼, 虚幻场景, 并置, 张力

Abstract:

When creating surreal scenes in his film, Fellini not only integrated them with reality, but also deliberately maintained their independence, realizing an opposition to reality. In some semi-autobiographical films, the outdoors were real cities, while the indoors were surreal settings constructed in studios. In films depicting real places, he infused everyday environments with unique characteristics by introducing surreal elements. Meanwhile, in films portraying dreamscapes, real-world details occasionally made appearances. Some scenes were shaped into circus or theater style spaces with strong theatrical effects. Hence he created a " defamiliarization effect" in the scene, reminding the audience of the differences between these spaces and reality. It was through these techniques that Fellini maintained sufficient tension between the fusion and juxtaposition of reality and the surreal world.

Key words: Fellini, surreal scenes, juxtaposition, tension