Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement
Max Ophuls and the Limits of Virtuosity: On the Aesthetics and Ethics of Camera Movement
复制标题
马克斯·奥菲尔斯和精湛技艺的极限：论摄影机运动的美学和伦理
DOI：
10.1086/661646
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发表时间：
2011
期刊：
影响因子：
1.7
通讯作者：
Daniel Morgan
中科院分区：
文献类型：
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作者：
Daniel Morgan
1895年12月第一部电影放映后不到两年，移动摄影机就已经成为电影的一个显著特征。摄像机被放置在移动的人行道和电梯上，在有轨电车、船只和（特别是）火车的前面；它们构成了早期电影的主要吸引力之一然而，尽管镜头运动在电影史上占有重要地位，但在批评作品中却出人意料地处于边缘和难以捉摸的地位。它们通常在电影和电影人的分析中被讨论，很少成为分析本身的明确主题。我怀疑，部分困难与摄像机移动所做的各种事情有关。大多数情况下，它们的作用是在一个连续的时间内建立一种空间感，同时产生一种与发生的事件或对话相结合的表现力。在《恶名昭彰》中，加里·格兰特和英格丽·褒曼拥抱的镜头。阿尔弗雷德·希区柯克（Alfred Hitchcock, 1946）在这方面堪称典范，因为希区柯克使用了一个不间断的移动镜头
Less than two years after the screening of the first films in December 1895, the moving camera had already become a prominent feature of cinema. Cameras were placed on moving sidewalks and elevators, on the front of trams, boats, and (especially) trains; they constituted one of the main attractions in early cinema.1 And yet, despite their prominence within the history of cinema, camera movements have remained surprisingly marginal and elusive in critical work. Often discussed within analyses of films and filmmakers, they are rarely the explicit subject of analyses themselves. Part of the difficulty, I suspect, has to do with the sheer variety of things that camera movements do. Most often, they function to establish a sense of space within a continuous temporal duration, all the while generating an expressiveness that works in conjunction with the events or dialogue taking place. The single shot that comprises the embrace between Cary Grant and Ingrid Bergman in Notorious (dir. Alfred Hitchcock, 1946) is exemplary in this regard, as Hitchcock uses an unbroken and mobile shot