摘要
在呈现现实和影响现实两个维度上,现实主义具有丰富的审美与政治内涵,并且在电影理论的语境下与欧洲左翼思潮具有深刻的内在关联性。具体而言,维尔托夫的"电影眼睛"不仅奠定了左翼影像的理论基础,更在艺术实践上树立了典范。本雅明揭示了电影艺术的双重政治属性,从而对左翼艺术在视觉维度上的超越性进行了深入挖掘。而意大利新现实主义和法国新浪潮的电影人则在理论与实践相结合的道路上做出了各自的探索,从而将左翼电影的理论潜能落实为现实社会中的文化政治。现实主义电影理论为我们提供了一个在视觉维度上透视艺术与政治之间关系的学术语境,值得进一步挖掘其中的文化内涵。
For a long time, the Chinese intelligentsia has understood realism based on the Marxist theory of reflection and considers realism as an aesthetic mode that reflects the world through the lens of certain media. In fact, as early as the 1930s, the well-known debate between Georg Lukacs and Berthold Brecht had already brought to light realism＇s complex significance. As Lukdcs saw it, realism has a representational prowess which can penetrate the ＂fashion＂ of life and grasp totality in both temporal and spatial dimensions. By virtue of realistic representation, the artist may not only anatomize the present reality but also shed light on the probable trajectory of history. For Brecht, however, art forms should not only keep pace with the changing reality but also give expression to the progressiveness of history. Therefore, the Brechtian realism focuses on the receptive dimension of art and is dedicated to fostering the proletarian revolution on the practical level. Despite their different opinions, both Lukacs and Brecht possessed a leftist stance and laid emphasis on the cultural politics embedded in realism. Based on their respective concepts of ＂representing reality＂ and ＂influencing reality＂, the present article aims to analyze realism＇s aesthetic and political significances and further investigate the relationship between realist film theory and European left-wing thought. Specifically, Dziga Vertov thought that film may not only document the physical world but also reveal the transcendental significance of reality. His kino-eye cinematography connects technological progressiveness with historical progressiveness and serves as a cultural means by which the proletariat may penetrate the surface of the everyday and grasp the authenticity of life. For Vertov and his comrades, it is the leftist filmmaker＇s duty to reveal the most authentic truth and fight against the banal bourgeois culture. In contrast to Vertov＇s ecstasy, Walter Benjamin unraveled the dialectics of film＇s political signific
作者
唐乐
顾明栋
Tang Le Ming Dong Gu(School of Arts and Humanities, The University of Texas at Dallas, Richardson, TX 75080 - 3021, US)
出处
《浙江大学学报（人文社会科学版）》
CSSCI
北大核心
2018年第5期97-104,共8页
Journal of Zhejiang University:Humanities and Social Sciences
