小津安二郎的鏡頭表現：以《晚春》與《東京物語》為例

Abstract

本文旨要探討小津安二郎（Ozu Yasujiro, 1903-1963）的獨特鏡頭，透過文獻分析法，以摘錄德勒茲（Gilles Deleuze, 1925-1995）在《電影2：時間影像》的論述，探究對於現代電影的表現手法，再對於《晚春》與《東京物語》影像的分析，歸納出有別於古典電影，小津所具有的現代電影特質。 小津的獨特，可從「無關緊要的空鏡頭」的面向上看。第一，在不會幫助情節發展的物品或風景上，每有任何攝影機運動的停留很漫長的時間，或者太多瑣碎的家常話。第二，時常省略掉「關鍵時刻」，這個關鍵時刻對古典好萊塢電影是很重要的。因此，從這兩點可以結論出，小津的電影不是為了情節的張力而存在的，他只是呈現鏡頭的本質。The thesis is to explore Ozu’s unique shot, cited Deleuze’s Cinema 2: The Time-Image with literature analysis. Study the modern cinema how to express, and the film of Late Spring and Tokyo Story to generalize the difference between the classical and modern cinema.

The unique of Ozu’s movie could be seen from “the shot of trivial things”. First, its shot always stays a long time on the thing without any movement or display too much ordinary conversation which wouldn’t help the plot to develop. Second, Ozu always omits “the critical moment” that has important meaning to Hollywood.Therefore, from this two points, we can make a conclusion that Ozu’s movie is not being for the tension of the plot, he just to display the essence of shot.