论文总字数：6603字

毕业设计报告

题目：浅析景别设计在玫瑰屋短片中的运用

所属系 建筑艺术系

专 业 动画

学 号 35214202

姓　　名 许青

指导教师 郭城

起讫日期 2017.12--- 2018.5

设计地点 东南大学成贤学院

东南大学成贤学院毕业设计报告（论文）

诚 信 承 诺

本人承诺所呈交的毕业设计报告（论文）及取得的成果是在导师指导下完成，引用他人成果的部分均已列出参考文献。如论文涉及任何知识产权纠纷，本人将承担一切责任。

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目 录

1. 绪论·············································································1
2. 景别的概论及在片中的运用·························································2

2.1景别的基本概念································································2

2.1.1以人划分·································································2

2.1.1以景划分·································································2

2.2不同条件决定景别·································································3

2.2.1场景空间····································································3

2.2.2距离·········································································3

2.2.3镜头焦距·····································································4

2.2.4镜头风格和导演风格····························································5

2.3景别的运用·········································································5

2.3.1全景·········································································5

2.3.2中景·········································································6

2.3.3近景·········································································6 2.3.4特写·····································································6

三、景别的作用········································································7

3.1景别影响画面构图························································7

3.2景别引导观众的注意力····················································7

3.3景别改变短片的节奏··································································8

3.4景别改变短片的整体风格····························································9

四、结束语···········································································10

五、参考文献·········································································11

六、致谢·············································································12

一、绪论

在电影的发展史中,电影经历了从无声电影的传入到如今的有声电影,无时无刻不在证明影视业的

发展是极其强大的,而在一个影视作品中,景别设计是一个不容忽视的创作来源,而影视艺术也伴随着镜头语言的诞生.

最开始人们接触的电影是没有声音的,这些无声电影深受着人们的喜爱,被称为默片.由于没有听觉上的表达,人们只能从最直接的视觉感官上来感受画面所带来的感受.可见景别设计在那个时期起着至关重要的作用,画面中的每一个场景都需要通过不同的景别来表现,大远景,远景,近景,特写,中景等等各种画面来表现拍摄者的思想和传达的意念.随着科学技术的飞速前进,有声有色的电影开始进入人们的视野中,人们通过更多的视听语言镜头语言更加深刻的了解到了画面所传达出来的感情.

短片选择玫瑰屋作为主要建筑，坐落于大自然中的玫瑰屋，具有明确的轮廓感，看起来十分简单，但实际上包含了大量的元素，为了使这座看上去并不复杂的建筑更具有意义，除了在每个镜头上增加更强的画面感，景别设计也在短片中起到了关键的作用。好的短片需要好的剧本，同时在镜头上好的短片也需要不一样的景别设计，短片通过一些全景中景加上画面中的自然元素来突出表现影片的主题，自然与建筑的相互融合。而建筑本身的材质，则通过一些特写镜头来表现等。短片创造最终形式要归于镜头画面的景别，以及镜头画面景别的排列组合，景别运用的规律是短片表达的重要形式。

将景别设计从镜头语言中拆分开来,就其基本概论,以及对玫瑰屋短片整体风格的影响,景别设计的运用技巧做一个基本的探讨和研究,会让我在景别设计的专项上有更深刻的理解,也是一个十分有意思的课题.

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