摘要
文章将巴赞的纪实理论作为讨论的起点 ,旨在阐述其所确立的纪实性电影美学的美学特征 ,并以之为参照 ,分析九十年代中国纪实电影的新的电影形态。巴赞纪实理论的基础在于他尊重事物本身的纪实观 ,《民警故事》、《小武》和《过年回家》这三部中国纪实电影的代表作都继承了这种纪实观 ,并具体表现在影片的影像和叙事结构上。通过审视该美学在九十年代中国电影创作中的独特面貌 。
Starting from the discussion of Bazin's on-the-spot record theory, this paper mainly elaborates the aesthetic characteristics of on-the-spot record films and analyzes the new film form in the 1990s of the according to the aesthetic characteristics. The Story of a Policeman, Xiao Wu and Going Home in the Spring Festival are the most representative works of Chinese on-the-spot record films in the 1990s. By evaluating the unique formation of this aesthetics in the three films, we can see how the Chinese film producers employ this long-lasting aesthetic principle once praised by Bazin as 'with thorough aesthetics'.
出处
《华南农业大学学报（社会科学版）》
2003年第1期67-74,共8页
Journal of South China Agricultural University(Social Science Edition)
关键词
巴赞
电影美学
纪实性
Bazin
film aesthetics
on-the-spot record theory
