Abstract The article examines three films by Roy Andersson, Songs from the Second Floor (Sånger från andra våningen, 2000), You, the Living (Du levande, 2007), and A Pigeon Sat on a Branch Reflecting on Existence (En duva satt på en gren och funderade på tillvaron, 2014). The Swedish director depicts the human condition afflicted by the loss of its humanity through a personal style that he calls “the complex image,” a tableau aesthetic that instigates social criticism, and is dependent upon long shots, immobility, unchanging shot scale, and layered compositions. The author establishes a connection between artistic and social space and scrutinizes the challenges that this “complexity” poses for the film viewer from an intermedial perspective in which cinema enters into a dialogue with two other art forms: painting and theatre. Four specific issues are discussed: (1) the intertwining of reality and artificiality as a “hyperreality;” (2) the visual compositions which are simultaneously self-contained and entirely open, highlighting a tension between volume and surface; (3) the opposition between stasis and movement, conveying a meaningful social contrast and the characters’ angst; (4) the pictoriality of the image.

中文翻译：

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罗伊·安德森（Roy Andersson）的《 Tableau美学》：绘画与戏剧之间的电影社会空间

摘要本文研究了三部电影，分别是罗伊·安德森（Roy Andersson），《二楼的歌》（Sångerfrånandravåningen，2000），《你，活人》（Du levande，2007）和《反映存在的树枝上的鸽子》（En duva sattpå）恩·格伦·奥·赫瓦罗基金会，2014年）。这位瑞典导演通过他称为“复杂图像”的个人风格来描绘因丧失人性而遭受苦难的人的境况，他是一种鼓舞人心的画面美学，激起了社会的批评，并依赖于远距离拍摄，不动手，不变的拍摄比例和分层成分。作者建立了艺术空间和社会空间之间的联系，并从中间角度审视了这种“复杂性”给电影观众带来的挑战，在这种中间角度中，电影院与其他两种艺术形式进行了对话：绘画和戏剧。讨论了四个具体问题：（1）将现实与人为因素交织为一种“超现实主义”；（2）视觉结构同时独立且完全开放，突出了体积与表面之间的张力；（3）停滞与运动之间的对立，传达出有意义的社会对比和人物的焦虑；（4）图像的形象性。