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关于电影
Sept 7, 2018 0:39:51 GMT -5
忘言忘语 likes this
Post by 溪山 on Sept 7, 2018 0:39:51 GMT -5
Hitchcock and psychoanalysis hbkportal.co.uk/FilmStudies/documents/HitchcockPsychoanalysisrevisionupdated2015forwebsite.pdfIn 1983 Donald Spoto claimed that Hitchcock was a man in the grip of uncontrollable impulses. According to Spoto, Hitchcock's pathological urges included: • misogyny, •sadistic tendencies, •and fantasies of rape; •bathroom and various other fetishes about sex and the body; •overwhelming guilt, •anxiety, and •a mother fixation; •phobias toward women, people in general, and the world at large. |
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关于电影
Sept 13, 2018 0:58:29 GMT -5
Post by 溪山 on Sept 13, 2018 0:58:29 GMT -5
Elia Kazan Films www.indiewire.com/2013/02/the-essentials-5-elia-kazan-films-you-may-not-know-101329/The emotional fabric and texture in the films of Elia Kazan was always intense, raw, painfully naked, unsettling, ugly, and almost always tragic. Failure, shame, regret, disgrace, indignity (often within the family setting; those who know your deepest darkest secrets and fears) and self-aware tortured souls were his stock and trade. Whether it was the anguished cries of Marlon Brando unabashedly sobbing, “Stella!” in “A Streetcar Named Desire,” James Dean’s bad son Caleb desperately trying to attain the love of his disapproving father to no avail in “East of Eden,” or Brando again in the brutally honest “On The Waterfront” scene of emerging morality as the younger brother, Terry Malloy, confronts his elder brother about being forced to sell himself out all his life in the name of a dishonorable buck. These painful human intersections were where Kazan was most masterful. |
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关于电影
Sept 13, 2018 1:01:50 GMT -5
Post by 溪山 on Sept 13, 2018 1:01:50 GMT -5
多角度探析《欲望号街车》中的多模态隐喻 www.lunwenstudy.com/shijiewx/48470.html在戏剧中，正是利用了图像、音乐、颜色等多层符号系统，产生了丰富多彩的戏剧效果。 采用多模态话语分析对戏剧话语进行解读，可以更全面、准确地理解和欣赏戏剧。本文将多模态话语分析与戏剧文学相结合， 以美国作家田纳西·威廉斯（Tennessee Williams，1911-1983）的代表作《欲望号街车》为例，进行多模态隐喻分析。威廉斯在戏剧本文中，用人物或地点的名称、人物台词等元素呈现了隐喻。 剧本为考虑戏剧演出的具体效果，也在戏剧本文中描述了颜色、音乐、动作、表情、衣着等多种符号系统。 因此，本文主要分三部分来分析《欲望号街车》中的多模态隐喻：本文中的隐喻，即通过文字、名称、言语等表达的隐喻；视觉模态隐喻，即通过颜色、人物动作、衣着和表情等表达的隐喻；听觉模态隐喻，即通过音乐、声音、人物语气等表达的隐喻。 。。。。。。。。。。 多模态隐喻在《欲望号街车》中并非独立使用，而是经常以多种模态相结合的方式来体现。剧本开头就呈现了一栋二层建筑， 斯坦利和史黛拉夫妇住在一层，而尤妮丝夫妇住在二层。由于斯坦利的粗暴无礼，史黛拉数次在愤懑中离开家， 上楼投奔尤妮丝夫人。 然而在斯坦利声嘶力竭的呼喊中，史黛拉终于无法控制情感，走下楼梯扑向斯坦利的怀抱。在戏剧结尾，斯坦利将妹妹送进了疯人院，在极度痛苦之中史黛拉再次抱着孩子冲上楼梯。 戏剧在斯坦利“史黛拉！ 史黛拉”的呼喊中结束。 这栋二层建筑象征着史黛拉内心世界理智与情感、理性与欲望的二元对立。 当斯坦利以粗暴无礼的方式对待她， 甚至进行人身攻击时，她决绝地走上楼梯离开斯坦利，象征着她渴望婚姻中男女双方的平等、尊重和关爱，追求独立的地位。但当斯坦利反复呼喊她的名字， 她便无法抵制内心的欲望，走下楼梯向斯坦利妥协。二层建筑的视觉形象和斯坦利的呼喊声相结合， 即是视觉模态和听觉模态的结合，象征着她和姐姐布兰奇一样，最终无法摆脱坠入欲望深渊的命运。 。。。。。。。。。 |
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关于电影
Feb 2, 2019 1:37:03 GMT -5
Post by 溪山 on Feb 2, 2019 1:37:03 GMT -5
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