摘要
在《机械复制时代的艺术作品》中,本雅明认为电影是“去美学”的,这使其电影理论形成了一些未必合理的论述,表现在电影与机械复制、电影与光韵、电影与政治的关系三大问题上。其实,电影对现实的拍摄并不是机械复制而是再现,电影作为艺术也应当有光韵的因素,同时这类艺术也不可能像本雅明所希望的那样被政治化。就美学而言,本雅明看到了照相摄影给传统美学带来的困境,于是为了电影这一新艺术而放弃了旧美学。然而,如今的美学已不再封闭于为艺术而艺术这类自律美学的狭隘天地,故我们有可能调转本雅明的致思方向,而让电影“返美学”,以期形成对电影较为合理的解释。
In The Work of Art in the Age of Mechanical Reproduction,Walter Benjamin believes that films are“de-aestheticized,”which has led to several arguments on films that may not be reasonable,including the three major issues of films and mechanical reproduction,films and aura,and the relationship between films and politics.In fact,films are not a mechanical reproduction of reality but a representation of it,and films as art should also have the factor of aura,and meanwhile,this kind of art cannot be politicized as Benjamin wished.In terms of aesthetics,Benjamin saw the dilemma that photography posed to traditional aesthetics,so he abandoned the old aesthetics for films,the new art.However,today’s aesthetics is no longer confined to the narrow world of autonomy aesthetics,such as art for art’s sake,so it is possible to reverse the direction of Benjamin’s thinking orientation and let films“return to aesthetics”in order to form a more reasonable interpretation of films.
作者
郭勇健
Guo Yongjian(Department of Chinese Language and Literature,Xiamen Univeristy,Xiamen,361005,China)
出处
《郑州大学学报（哲学社会科学版）》
CSSCI
北大核心
2022年第6期62-69,125,共9页
Journal of Zhengzhou University:Philosophy and Social Sciences Edition
