【摘要】二十世纪九十年代，《流浪北京》和《妈妈》的导演吴文光和张元曾对“独立”有过这样的解释：“独立的概念实际就两条，一条是独立操作，一条是独立思想。”这是“独立电影”最雏形的释义。近些年，民间独立电影活动组织办得如火如荼，很多中国独立电影也在外国电影节上频频获奖。独立电影创作的兴起，也使越来越多的学者开始关注和研究独立电影美学。应亮作为一位新生代的独立电影导演，他电影中的真实性与表现出的美学风格引人深思，以其为例对独立电影的美学研究在当下的独立电影中有一定的代表性。本文，以四个部分分析应亮独立电影的美学风格：第一部分是说明独立电影和电影美学的现状；第二部分是分析应亮作品叙事中反映的中国传统美学思想；第三部分是分析应亮使用长镜头及声音元素对电影表现出的美学风格，第四部分研究应亮作品的悲剧美。
【关键词】应亮 独立电影 美学 《背鸭子的男孩》 《另一半》
Abstract：The 1990s,Wandering Beijing and" Mom "director Wu Wenguang and Zhang Yuan's Independence had such an explanation: Was actually two separate concepts, one is to operate independently, an independent-minded. This is the most embryonic form of the interpretation of the "Independent Film". In recent years, the folk independent film events organization to do in full swing, many Chinese independent film is also foreign film festivals have been winning. In recent years, the organization of the Folk independent film events, was in full swing, have been winning a lot of movies also foreign film festival. Independent film should be bright, for example, the authenticity of his film and to show the aesthetic style and thought-provoking study has some effect on the independent film. In this paper, the four part of the analysis of Ying Liang 's aesthetic style of independent film.The first part is a description of the status quo of the independent film and film aesthetics; The second part is reflected in the analysis should be bright works of narrative traditional Chinese aesthetic thought; The third part is the analysis should be bright to use a long lens and sound elements movie show aesthetics; On the fourth part of the works of Ying Liang's tragic beauty.
Key words：Ying Liang Independent Film Aesthetics Taking father home The other half
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