摘要
1960年代,台湾"健康写实电影"所追求的只是有限度、不完整和不彻底的写实主义美学精神。1980年代,台湾新电影才为台湾电影真正建构了写实主义美学精神。在后新电影时代,台湾电影的写实主义美学精神空前高涨。中国封建时代的主流文艺观高度强调美与善的统一。当代台湾电影不断地张扬写实主义美学精神,本质上是在颠覆这种传统的文艺观,并致力于追求美与真的统一。这在中国文艺观念的发展史上具有革命性的重大意义。
In 1960s, the Taiwan Residents Healthy Realism only pursued a limited and incomplete reahstlc aesmeue spirit. Not until 1980s did the Taiwan Residents New Film really establish a realistic aesthetic spirit for the cinema. In the post-Taiwan Residents-New-Film era, the realistic aesthetic spirit is reaching its peak. In the feudal times in China, the official literature and art pursued a unification of beauty and morality. The contemporary Taiwan Residents film, however, subverts that traditional notion of literature and art and pursues a unification of beauty and reality, for it consistently promotes the realistic aesthetic spirit. This change of ideas is of revolutionary significance in the history of Chinese literature and art.
出处
《南京师大学报（社会科学版）》
CSSCI
北大核心
2009年第4期151-156,共6页
Journal of Nanjing Normal University(Social Science Edition)
基金
江苏省社科基金重点项目(06JSAYS001)
关键词
台湾电影
写实主义美学精神
美与真的统一
Taiwan Residents cinema
realistic aesthetic spirit
unification of beauty and reality
