阿富汗电影中的色彩美学

Abbas Mohammadi
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引用次数: 0

摘要

在存在的世界里,万物的存在都是从光中可见的。光赋予物体和生物以色彩和美感。色彩赋予了它们富有表现力的轮廓。物体有了色彩,就能更好地被人看到,更能吸引观众。在很多情况下,制造商会用色彩来吸引买家,从而吸引他们购买该产品。从电影诞生至今,所有的电影人都在努力为观众创造一个梦幻的空间,以便在这个空间里向观众传达他们想要的信息。因此,在不同的时代,新技术进入了电影的视觉空间。色彩就是进入银幕并改变电影世界的效果之一。色彩就像食物中的香料。就像香料赋予食物色泽一样,色彩也赋予影像灵魂和感觉。如今,许多电影制作者除了赋予画面以感觉和吸引力之外,还通过色彩赋予画面以意义。因为影像是一种视觉媒介,电影人可以利用色彩的心理状态来诱发观众对场景和故事的某种感受。在西方世界,场景中的色彩运用和色彩感已经成为一个普遍的范畴,所有的电影人都能很好地运用它,但这种情况在中亚,尤其是中东国家的电影中并没有得到很大的发展。在伊朗和阿富汗等国,他们无法正确使用色彩,因为这些国家的许多电影制作人并不了解色彩,这种对色彩知识的匮乏在许多情况下使他们无法正确使用色彩,也无法产生令人惊叹的效果。 在许多中亚电影中,色彩心理学在电影中的缺失是显而易见的。伊朗的阿斯哈尔-法哈蒂等少数电影人尝试正确使用色彩。但在阿富汗,可以说没有一部电影能正确使用色彩。但在印度电影中,他们却夸张地使用色彩,当然,应该说这种夸张有一部分是由于印度文化的类型造成的,他们对快乐的色彩更感兴趣,在他们的国家,他们有一个特殊的节日,叫做色彩节。但在欧美电影中,色彩是用来表达场景和故事的感觉的。例如,在电影《阿凡达》中,大部分的电影空间都能看到蓝色。在中东地区的电影中,尤其是伊朗和阿富汗的电影中,看不到这种科学而有意义的色彩运用。在许多情况下,这可以归因于阿富汗电影制作者对色彩和电影色彩科学概念的研究和理解水平较低。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Aesthetics of Color in Afghan cinema
In the world of existence, everything takes its existence to be visible from the light. Light gives color and beauty to objects and creatures. Color gives them an expressive profile. When objects have color, they are seen better and the audience is more attracted to them. In many cases, manufacturers use colors to attract their buyers so that they can attract them to that product.This issue also exists in the cinema. Since the beginning of the cinema until today, all filmmakers have been trying to create a dream space for their audience so that they can convey their desired message to the audience in that space. Therefore, in different eras, new technologies entered the visual space of cinema. Color was one of the effects that entered the silver screen and changed the world of cinema. Color is like spice in food. Just as spice gives food lust, color gives soul and feeling to the image. Today, many filmmakers, apart from feeling and attractiveness, give meaning to the image through color. Because the image is a visual medium, the filmmaker can use the psychological states of colors to induce certain feelings of the scene and story to his audience.In the western world, the use of color and sense of color in the scene has become a common category and all filmmakers use it well, but this case has not grown much in the cinema of Central Asia, especially in the Middle East countries. In countries like Iran and Afghanistan, they cannot use color properly because many filmmakers in these countries do not know color properly, and this lack of knowledge about color in many cases makes them unable to use color correctly and have amazing effects. have it on the audience and convey the message to the audience.In many Central Asian films, the absence of color psychology in the films is clearly understandable. Few filmmakers like Asghar Farhadi in Iran try to use color correctly. But in Afghanistan, it can be said that there is no filmmaking that can use color in the right way. But in Indian cinema, they use color in an exaggerated manner, of course, it should be said that part of this exaggeration is due to the type of Indian culture that they are more interested in happy colors and in their country they have a special festival called the festival of colors. But in European and American cinema, color is used to convey the feeling of the scene and story. For example, in the movie Avatar, blue color can be seen in most of the film space. And it evokes a special feeling towards the scenes of the movie, or like Stanley Kubrick who uses colors with a very special skill in the movie «Eyes Completely Closed».Such scientific and meaningful uses are not seen in any of the Middle East films, especially in Iran and Afghanistan. In many cases, it can be attributed to the low level of study and understanding of color and the scientific concepts of color in cinema by Afghan filmmakers.
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