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時間:2018-08-27 16:42來源:未知 作者:quanlei_cai 點擊:
導讀:這是一篇電影藝術專業的assignment范文,討論了影視語言的虛指性。影視語言的虛指性是相對于文字語言的真實陳述而提出來的。所以說影視語言的虛指性,就是與實指性相對而言的,其所指涉的內容不是外部世界中已經存在的客觀真實,而是常常呈現出虛幻的、想象的或是假設的一些情景;是對影視作品中有可能發生的或不可能發生的情景的假設和構想,而不是對已經發生了的事情的真實還原記錄。 Assignment范文題目:The virtual nature of film and television language As the product of human audio-visual language development to modern times, film and television language is the comprehensive applica
導讀:這是一篇電影藝術專業的assignment范文,討論了影視語言的虛指性。影視語言的虛指性是相對于文字語言的真實陳述而提出來的。所以說影視語言的虛指性,就是與實指性相對而言的,其所指涉的內容不是外部世界中已經存在的客觀真實,而是常常呈現出虛幻的、想象的或是假設的一些情景;是對影視作品中有可能發生的或不可能發生的情景的假設和構想,而不是對已經發生了的事情的真實還原記錄。
 
Assignment范文題目:The virtual nature of film and television language
 
As the product of human audio-visual language development to modern times, film and television language is the comprehensive application of human vision and hearing, and its pragmatic purpose is aesthetic, with characteristics such as virtual fingering. This paper will try to analyze and expound the characteristics of film and television language from four aspects and the specific film and television works, in order to explore the aesthetic effect of the film and television language.
 
Film language refers to film language and television language. In his book film linguistics, wang zhimin believes that "film linguistics and television linguistics should be the same kind of linguistics. Or, more accurately, television linguistics is film linguistics. Of course, this is one of the views on the understanding of film language, we can also call it film language or film language. The pragmatic purpose of film and television language is aesthetic, and its aesthetic features are mainly reflected in these aspects: self-referential, musical and virtual fingering. This paper starts with the virtual index and tries to analyze and discuss the virtual index of film and television language by combining the specific film and television works.
 
Virtual, meaning illusory, false, unreal. Virtual sex of film and television language is a true statement of the relative to the written language is made to the sex, so to understand, the so-called virtual sex, of film and television language refers to and fact refers to the relative, its content is not the external world become already exists in the objective truth, but often present a false, fictitious, imagine or assume some of the scene.
 
In the specific film and television works, the imaginary scenes are presented to the audience in various audio-visual forms. These scenes all have a common feature, that is, the imaginary. What they refer to is illusory, imaginary or non-existent in real life. Therefore, the false and objective reality are different from each other. Deficiency of film and television language refers to sex in the film and television works likely or unlikely scenario assumptions and ideas, rather than the real things have taken place in the reduction of record, if is a record of what has happened to make a real, so can't call it the film and television language, but belongs to the category of the news reports of news language. It is from this meaning that we can conclude that film and television language is an artistic language with the characteristics of virtual.
 
The reference between similar situation and real situation is the first form of the visual presentation of film language. The so-called realistic situation can be regarded as a series of real situations in real life, with considerable, perceptible and knowable characteristics. And similar scenes obviously refer to virtual, which is more focused on the fiction of the situation, but this kind of similar scenes have a certain relationship with the real situation. Because tracing back to the origin of art, it is generally believed that art comes from life and is higher than real life. It can be seen from this that similar scenes are based on real scenes. That is to say, only when people extract materials from real life and make them sublimate in art through processing and finishing can they form an artistic film language. For example, there are many plot elements in Korean dramas that are made up, but they can find the prototype and basis from real life, which is not a fantasy but comes from life.
 
The second manifestation of film and television's false fingering is the possible situation. The possible scenario here is mainly aimed at the fact that it has not happened or does not exist in the current real life, but it is possible to happen in the future. Such possible scenario is often based on certain technology. Reflected in film and television works, the possible situation mainly appears in science fiction genre films. Specifically, a science fiction film is a film that narrates on the basis of a scientifically based fantasy scenario or hypothesis. It is worth noting that adopted by the science fiction film science theory are not necessarily accepted by mainstream science, such as alien, abilities such as the future possible, of course, also will never appear likely scenario, the use of the spacecraft, robots and other elements of science and technology, these are undoubtedly reflects the film has a "virtual" this feature of a language.
 
The third form of representation of film and television language is impossible situation. An impossible situation is, by definition, an absolutely impossible situation, that is, it is impossible to achieve in the past, present or future life. This unlikely scenario is generally reflected in the plot development of film and television drama, the most striking example is in recent years popular on the television screen of various types of time-travel drama. Nowadays, the popularity of time-travel dramas is no longer limited to the domestic market, and even Korean TV dramas have risen a trend of "time travel". Why do audiences always enjoy time-travel dramas and are willing to buy them? From its own position, time-travel can arbitrarily connected up two ancient and modern time and space, time and space crisscross, ancient and modern in thinking and way of life of many aspects, such as collision constitutes the time-travel absurdist drama structure, and this kind of plot structure and could not reflect the scene is virtual, film and television language refers to the existence of a kind of important form of expression.
 
The virtual nature of film and television language is fully applied in the specific film and TV series. Many film and television works depend on the unique "virtual" nature of their language, thus greatly improving the aesthetic quality of the whole work. The following are some typical film and TV series, in which the characteristics of film and television language are fully applied and presented.
 
The famous American? director woody Allen film purple rose of Cairo on the operation of virtual means of film language is in place. The director USES this film to explore the fantastic and real relationship between the film and real life. The whole film, like a dream, keeps the audience's mind firmly locked in the plot of the film. Together with the heroine, the film is trapped in the purple rose of Cairo. The film USES scientific and technological means to create a virtual world of light and shadow, which brings a special aesthetic experience to the audience. The whole movie is illusory, the heroine ceci, her in order to escape from life and work pressure, and took pains to repeat purple rose of Cairo to watch a movie, and is deep in love with the film actor Tom, when she saw the fifth time in, Tom was out of the screen came to her side, what a wonderful scene, start from here, the whole movie language began to develop its implicit sexual characteristics. At the end of the film, Cecilia returns to real life and continues to face her harsh husband. In the film, Tom represents illusion and Cecilia represents reality. The language of the film makes use of its characteristics of the imaginary index to skillfully connect this illusion and reality, and gives the audience a special dreamlike viewing experience, which finally reveals the profound theme of the film.
 
Science fiction, as the name implies, is "science fiction film", which is a feature film with science fantasy as its content. Its basic feature is to make a fantasy description of the future world or the distant past from the known scientific principles and achievements today. The definition of science fiction contains several factors, all of which are based on science. The difference between science fiction and fantasy and fantasy lies in the fact that there must be one element in the fantasy that can be supported by science. For the film and television language, a comprehensive art language that integrates both visual and auditory senses, science fiction films have high requirements for the realistic and virtual degree of photographic images, which also shows the possible situation in the language of science fiction films. "2001: a space Odyssey," for example, was released in 1968 and hailed as a "milestone in modern science fiction filmmaking". As you can see, the film shows the audience the infinite reverie of the future space with its amazing high predictability. But it is worth noting that the movie of this high predictability is not without foundation of chaos, because as early as in 1961, President Kennedy announced to implement manned mission to the moon, Apollo, the film's cast and NASA's hired experts to participate in the creation process of film, embodies the respect of the creator for scientific knowledge, makes every effort to provide the content of the film from the perspective of professional scientific support. From the above cases, it can be clearly concluded that many elements of film language used in science fiction films are based on certain scientific basis and may occur in the future, which proves the inevitability of the possible occurrence of scenarios in the language of science fiction films.
 
Time-travel dramas are a new type of TV series that has emerged and grown up rapidly in recent years. "Time travel: short for time and space travel, colloquially refers to an event in which a person passes through time and space from place to place through a process for a reason." The plot of film and TV drama is based on this as the clue, and from the perspective of film linguistics, it reflects the reappearance of the impossible situation in the virtual fingering.


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