1、高级英语视听说 学期论文封面模板哈尔滨商业大学学期论文场景调度因素对悬念营造的作用希区柯克电影风格简析 学 生 姓 名 舒 丹 指 导 教 师 王立新 专 业 英 语 学 院 外语学院 2010年 12 月 30 日Harbin University of Commerce Team ThesisContribution of Mise-en-Scne Elements to Creation of SuspenseAnalysis of Hitchcocks Film StyleStudent Shu Dan Supervisor Wang Lixin Specialty English L
2、anguage School School of Foreign Languages December 30, 2010毕业论文任务书姓名：舒丹学院：外语学院班级：06级4班专业：英语毕业论文题目：Contribution of Mise-en-Scne Elements to Creation of SuspenseAnalysis of Hitchcocks Film Style场景调度因素对悬念营造的作用希区柯克电影风格简析立题目的和意义：人们喜欢电影的理由之一是因为电影可以满足其“窥探”的欲望电影总是在“展示”，展示人们好奇的事物，展示人们不明了甚至不曾意识到的自己的、他人的心理等。悬
3、疑电影是众多类型影片中的最乐意强化这种展示作用的一种，它们以设置各式悬疑的方式充分撩拨观众的这种好奇心，激起人们内心的“窥探”这一潜藏而又深刻的欲望。而提及悬疑电影，被誉为“悬念大师”的阿尔弗雷德希区柯克的作品则是最不容忽视的。本文通过研究电影拍摄中场景调度的因素，即布景，取景框，音效与照明，服装与道具的运用等，分析了希区柯克电影中悬念气氛的营造，以求达到让电影观看者在观看悬疑电影的过程中，能够深化对悬疑、恐怖之美的认识，提高对电影的观赏水平，也能够对自身进行探索，对自己有所了解的目的。技术要求与工作计划：技术要求：1 调查语篇，利用多种途径查阅资料，如互联网、图书馆等。2 分析文献，根据导师
4、的指导，从查阅到的大量资料中筛选精品来重点分析。3 在初稿的书写以及多次修改当中深化对题目意义理解。4 通过导师的指导和一系列的分析得出结论，并通过答辩来检验工作的成果。工作计划： 第一步：查找资料，确定论文选题。 第二步：完成关于论文的调研，取得相关资料。 第三步：根据掌握的调研资料，进行系统地分析、整理，找到问题切入点 第四步：阅读与论文相关的书刊，以及国家的各种统计数据，从理性上加以分析。 第五步：组织、整理相关资料，准备论文撰写。 第六步：完成论文写作提纲。 第七步：开始论文写作，形成初稿。 第八步：根据导师提出的论文修改意见，完成论文写作。 第九步：论文定稿、打印、装订、准备答辩。
5、第十步：毕业论文答辩。时间安排：1.12月20日前拟定出具体论文题目，与指导教师见面商议定题。2.12.月25日将详细提纲交送到导师处。3.12月30日开题。4.1月1日4月初收集资料，提交完整的初稿。5.4月20日中期检查。6.4月21日5月末修改论文。7.6月上旬，定稿，打印装订。指导教师要求：1.严格按照论文技术要求与工作计划，独立完成论文写作任务2.要求工作态度认真、端正3.要求理论联系实际4.论点明确，论据条理清楚，结构合理，文字流畅5.杜绝抄袭（签字） 年 月 日教研室主任意见：（签字） 年 月 日院长意见：（签字） 年 月 日毕业论文审阅评语一、指导教师评语：指导教师签字：年 月
6、 日毕业论文审阅评语二、评阅人评语：评阅人签字：年 月 日毕业论文答辩评语及成绩三、答辩委员会评语：四、毕业论文成绩：专业答辩组负责人签字： 年 月 日五、答辩委员会主任单位： （签章） 答辩委员会主任职称： 答辩委员会主任签字： 年 月 日摘 要人类天生具有窥探的欲望，而电影则被认为是容易满足人们窥探欲望的一种艺术形式。在众多影片类型中，悬疑影片对电影的这种功能的体现尤为明显，这也是阿尔弗雷德希区柯克的作品为何相当受人欢迎的原因之一。阿尔弗雷德希区柯克是一位闻名世界的电影导演，尤其擅长于拍摄悬疑惊悚片，素有“悬念大师”之称。作为历史上著名的电影艺术大师，他不但有许多脍炙人口的名片传世，对电影
7、工业也有深刻的影响。本文通过对其作品中场景调度因素的分析，包括布景，取景，音效和照明，服装和道具，得出场景调度因素对于悬疑气氛营造所具有至关重要的作用的结论。关键词：希区柯克；悬疑气氛；场景调度AbstractPeople are born with a desire to peek, and film is thought to be an art form which can easily satisfy this desire. Among different styles of films, suspense films perform such function most obvio
8、usly, and that is one of the reasons why Alfred Hitchcocks works are so welcome. Alfred Hitchcock is a world-famous film director, who was good at making suspense and thriller films, and is known as the “Master of Suspense”. As a cinema art master in history, he has not only made a lot of works winn
9、ing universal praise, but also made a profound effect on film industry. This thesis analyzes elements of mise-en-scne in his works, including setting, framing, sound and lighting, and costumes and props, and gets the conclusion that mise-en-scne elements have an effect of vital importance on creatio
10、n of suspense films. Key Words: Hitchcock; suspense atmosphere; mise-en-scneContents摘 要 iAbstract ii1 Introduction 12 Setting 32.1 Big Houses as Closed and Limited Space 32.2 Rooms with Curtains as Obstacles 52.3 Stairs as Path of Rising Anticipation 73 Framing 93.1 Windows as Holes to Peek through
11、93.2 Mirrors as Reflection of Different Selves 113.3 Doors as Obstacles and Connections 134 Sound and Lighting 154.1 Diegetic Sound as Voice of Soul 154.2 Light as Atmosphere Maker 164.3 Darkness as Shelter for Evil 175 Costumes and Props 195.1 Inappropriate Dresses as Trigger of Curiosity 195.2 Arr
12、angement of Certain Objects as Carriers of Mystery 20Conclusion 23Bibliography 25Acknowledgements 271 IntroductionOne of the reasons why people love films is that films can satisfy their desire to “peek”: what films usually do is to “reveal” or “show”. Films know what people are curious about, what
13、people dont understand, or even what they are not aware of in mental world, theirs, or others. Among all the types of films, suspense films are the ones which emphasize this function the most. They set a variety of suspense to arouse audiences curiosity and desire to peek. When we mention suspense f
14、ilms, the works of Alfred Hitchcock, who is regarded as the “Master of Suspense”, should definitely not be ignored.Alfred Hitchcock is a world-famous film director. His suspense films differ from common horrors: besides screaming in the process of watching, people may be in a nervous sense in daily
15、life. In the process of hiding, peeking, and revealing, he makes people think. Psychological matters presented in films become mirrors to audience. That is why Alfred Hitchcock is also called “Freud in Filmdom”. During his art life as long as sixty years, Alfred Hitchcock made more than fifty films,
16、 such as Rebecca, Rear Window, and Psycho. You can hardly tell which one is the most classic. These works are characterized by suspense. When searching for such atmosphere, people may find a careful arrangement of elements of mise-en-scne. Proofs lie in all of his works. Rather than spending time on
17、 the study of those purely formal cinema questions, such as the shot, editing, and montage, my thesis analyzes creation of suspense in Alfred Hitchcocks films with the study of elements of mise-en-scne, i.e. setting, framing, sound, lighting, costumes, and props. It makes the applied methods, having
18、 films seem to be artistic, more concrete and “touchable”, since amount of examples are given. In this thesis, four main chapters are contained. In the first chapter, setting is analyzed with the presentation of big houses, rooms with curtains, and stairs. Big houses are regarded as closed and limit
19、ed space. Rooms have similar functions, and curtains as obstacles strengthen these functions to some degree. Stairs, as another type of sets, make contribution to creation of suspense as path of rising anticipation, which is different from the former two. In this chapter, Psycho, Rebecca, Dial M for
20、 Murder, and Vertigo are given as examples. In the following part, Psycho, Rebecca, Rear Window, and Vertigo are mentioned as examples. Doors are both obstacles and connections; before obstacles shift to connections, audiences curiosity forms, and suspense atmosphere is created. Mirrors serve as ref
21、lections of different selves. Concrete discussion will explain how mirrors contribute to creation of suspense. Another kind of frame preferred by the director is window. Windows as holes to peek through have effects on creation of suspense in their own way. In the third chapter, sound of rain in Rea
22、r Window and Psycho supports the exposition of sound part. Lighting in The Birds, Dial M for Murder, and Rear Window serves as suspense atmosphere maker. Darkness, as a special effect of lighting, is discussed as a separate section. It plays a role of shelter for evil. As to the last chapter, inappr
23、opriate dresses in Psycho and Rebecca indicate Alfred Hitchcocks tendency in costumes: the dresses become triggers of curiosity which is quite important for the formation of suspense. And birds in Psycho and The Birds carry certain mystery so that suspense can exist.The study may help the audience k
24、now more about the beauty of suspense and horror in the process of watching the films, and raise the level of appreciation. Whats more, with deeply understanding of films, audience can further the exploration of themselves, knowing more about their inner world.2 SettingWhat is setting? Andrew Lynn g
25、ives us a brief answer in his Appreciating Cinema that “setting is the term used to refer to the background of a particular sceneSets may be chosen or designed on the basis of a number of different consideration s to create an expressive space (Lynn 56) ”. As to Alfred Hitchcocks films, what sets ar
26、e usually chosen? Here are big houses, rooms with curtains, and stairs as objects to analyze with.2.1 Big Houses as Closed and Limited Space In Hitchcocks films, it is not hard to find that many stories happen in big houses. Undoubtedly, he chooses big houses as the spots for reasons. In traditional
27、 ideal, houses are thought to be a symbol of security, but Hitchcock tried to challenge such tradition: he would make a big house a place where unknown danger hides. Though these houses are big, even giant, they do constitute limited space. In such limited space, stories that are about to take place
28、, however, still can be unknown and unpredictable. In a few words, what big houses indicate is that in limited place, stories are unlimited. Meanwhile, big houses bring a sense of pressure. It contributes to the creation of tensity and horror. Dozens of examples can easily be found. Sometimes, it is
29、 only a villa, like Bates home in Psycho; sometimes, it is a manor, like Manderley in Rebecca. In Psycho, Norman Bates and his mother live in a big gothic house located on a slope near the motel. “Gothic architecture always offers people an afraid and upset hint. (Han Ye, Li Jinming, 88)” Besides, t
30、he position of the house, which seems to be just shrouded in the dark clouds, is obviously higher than other objects. When coming into the view of audience for the very first time, the villa makes people feel pressed. What are in such big house must draw peoples attention. But what we can get for a
31、very long time are a womans figure near the window and the quarrel between Norman and his “mother” (which is proved to be a mummy at the end of the movie). What is the woman like? What else are hidden in this big box? How will those hidden things affect the following story? Since these questions are
32、 raised, suspense is born.In Rebecca, the opening shot is given to the giant manor, Manderley, in which we can always feel the breath of Rebecca, the dead hostess of Manderley, though we actually never see her. Meanwhile, the domineering housekeeper, Mrs. Danvers, tries to undermine the second Mrs. de Winter, suggesting to her
