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題名：3D電影中的攝影眼：《少年PI的奇幻漂流》的「深度」探索
書刊名：藝術學研究
作者：林克明 引用關係
作者(外文)：Lin, Ke-ming
出版日期：2014
卷期：15
頁次：頁115-171
主題關鍵詞：少年PI的奇幻漂流；數位3D電影；攝影眼；真實；深度；Life of Pi；Digital 3D cinema；Cinematographer's eye；Reality；Depth
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  • 被引用次數被引用次數:期刊(2) 博士論文(0) 專書(0) 專書論文(0)
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《少年PI的奇幻漂流》的數位3D攝影，在2013年奧斯卡金像獎獲得「最佳攝影」的獎項。然而，攝影師杜可風卻在接受Blouin Artinfo的專訪中指出，《少年PI》的獲獎是「對攝影極度的侮辱」。杜可風的批評，主要是他認為在《少年PI》中多數畫面都是以電腦控制的方式生產，而非由攝影師以攝影機來生產影像。但是更深層地思考，《少年PI》的獲獎以及杜可風的批評，意味著從攝影師的角度出發一種電影視覺的轉向。因此本文嘗試以《少年PI》作為一種影像製作概念上的分界進行提問：在《少年PI》之前，攝影師眼中的電影是什麼？在《少年PI》中，數位3D攝影這種新的製作方式又讓電影產生了何種改變？而透過《少年PI》，我們看到數位3D攝影，特別是它所具有的「深度」特質，又為電影視覺的發展指向何種可能的未來？
The digital 3D film, Life of Pi, won the Academy Award for Best Cinematography in 2013, but well-known cinematographer, Christopher Doyle, in an interview with BlouinArtinfo, thought the Oscar win for Life of Pi an insult to cinematography. Doyle’s criticism stems from the fact that most shots in Life of Pi were accomplished under the control of a computer rather than a cinematographer. Upon further consideration, could not the film’s award and Doyle’s criticism be considered as marking a turning in the cinematography of contemporary film? With this question in mind, this paper intends to raise several questions with a view to positioning Life of Pi as a watershed in the conception of film production. Before Life of Pi, what was film in the eye of cinematographers? When the latest-generation 3D cinematography is utilized in Life of Pi, how does the new vision change how cinematographers make films? Finally, if Life of Pi is considered an exploration of how 3D technology, especially with regards to depth-of-field effects, changes the vision of film, what will the future 3D cinematography show us?
期刊論文
1.Cook, Simon(2007)。"Our Eyes, Spinning Like Propellers": Wheel of Life, Curve of Velocities, and Dziga Vertov's "Theory of the Interval"。October，121，79-91。  new window
2.Comolli, Jean-Louis、Satchel, A.(1980)。Note on Depth of Field。Cahiers du Cinema，7，88-89。  new window
3.Elsaesser, Thomas(2013)。The "Return" of 3-D: On Some of the Logics and Genealogies of the Image in the Twenty-First Century。Critical Inquiry，39(2)，217-246。  new window
4.Ihde, Don(1974)。The Experience of Technology。Cultural Hermeneutics，2，256-279。  new window
5.Lippit, Akira Mizuta(1999)。Three Phantasies of Cinema-Reproduction, Mimesis, Annihilation。Paragraph，22，213-227。  new window
6.Krauss, Rosalind(1982)。Photography's Discursive Spaces: Landscape/View。Art Journal，42(4)，311-319。  new window
7.Turvey, Malcolm(1999)。Can the Camera See? Mimesis in "Man with a Movie Camera"。October，89，25-50。  new window
8.Sandifer, Philip(2011)。Out of the Screen and into the Theater: 3-D Film as Demo。Cinema Journal，50(3)，62-78。  new window
圖書
1.李屏賓(2009)。光影詩人：李屏賓。臺北：田園城市文化。  延伸查詢new window
2.Ben-Shaul, Nitzan(2007)。Film: The Key Concepts。Oxford：New York：Berg Publishers。  new window
3.Vertov, Dziga(1984)。Kino-eye: The Writings of Dziga Vertov。Los Angeles：University of California Press。  new window
4.Schaefer, Dennis、Salvato, Larry(2013)。Masters of Light: Conversations with Contemporary Cinematographers。Berkeley：University of California Press。  new window
5.Deleuze, Gilles、Tomlinson, Hugh、Galeta, Robert(1989)。Cinema 2: The Time-Image。Minneapolis：London：University of Minnesota：Athlone。  new window
6.Hansen, Mark B. N.(2004)。New Philosophy for New Media。MIT Press。  new window
7.Rodowick, David Norman(2007)。The Virtual Life of Film。Harvard University Press。  new window
8.Sobchack, Vivian(1992)。The Address of the Eye: A Phenomenology of Film Experience。Princeton, New Jersey：Princeton University Press。  new window
9.Deleuze, Gilles、Guattari, Félix、Massumi, Brian(1988)。A Thousand Plateaus: Capitalism and Schizophrenia。Inneapolis：University of Minnesota Press。  new window
10.Merleau-Ponty, Maurice、Lingis, Alphonso(1968)。The Visible and the Invisible: Followed by Working Notes。Northwestern University Press。  new window
11.Crary, Jonathan(1990)。Techniques of the Observer: On Vision and Modernity in the Nineteenth Century。MIT Press。  new window
圖書論文
1.Bazin, André、Gray, H.(1967)。Myth of Total Cinema。What is Cinema。Berkeley：Los Angeles：University of California Press。  new window
2.Bazin, André、Gray, H.(1967)。The Evolution of the Language of Cinema。What is Cinema。Berkeley：Los Angeles：University of California Press。  new window
3.Eisenstein, Sergei、de la Roche, C.(1949)。About Stereoscopic Cinema。Penguin Film Review。London：Penguin Books。  new window
4.Manovich, Lev(1997)。Reality Effects in Computer Animation。A Reader in Animation Studies。Bloomington：Indiana University Press。  new window
5.Benjamin, Walter(1999)。The Work of Art in the Age of Mechanical Reproduction。Illuminations。Pimlico。  new window
6.Haraway, Donna J.(1990)。A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s。Feminism/Postmodernism。Routledge。  new window
 
 
 
 
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