摘要
一、引言艺术是人类生存发展的重要规定性,也是人类生存发展的核心原动力。人类学告诉我们,早在12万年前尼安德特人就出现在欧洲,他们比同时期生活在东非和亚洲的智人更有效地利用火,其制作工具的能力与工艺水平也比智人要高。大约5万年前,尼安德特人与智人相遇。2.4万年前,尼安德特人灭绝了,而亚洲智人则进化为今天的我们。为什么利用火和制作工具的能力高于智人的尼安德特人消失在智人之前,这是人类学的一个秘密。而解开这个秘密的钥匙是想象和艺术。智人拥有一种尼安德特人不具备的能力,那就是想象力与艺术创造力。距今4万年前的伊朗霍梅恩岩画、2.5万年前的巴西卡皮瓦拉山岩画、2万年前的中国宁夏卫宁北山岩画、1.5万年前的法国拉斯科洞窟岩画皆为实证。
More than a century has passed since the art of film was introduced in China.During this long period, Chinese film art has been constantly absorbing and integrating the characteristics of Chinese traditional culture, and has grown in revolutions and developed through innovations.Constructing Chinese film school as well as sorting out the historical pedigree and developing logic of Chinese films theoretically can contribute to the formation of the discourse system of Chinese films, thus their artistic characteristics can be truly grasped and highlighted so that we can strengthen our cultural confidence and continually cast new resplendence of Chinese culture.For these above reasons, we have organized this conversation by writing to discuss the topic of "the construction of Chinese film school theories".Professor Zhang Zhengwen at University of Chinese Academy of Social Sciences believes that in order to construct Chinese film school, we should firstly reveal the views on film art and ideologies of China by describing the historical pedigree of Chinese films, and then set up the central theme and iconic concept of Chinese films.Professor Hou Guangming at Beijing Film Academy sees the mission of Chinese film school as film making and carrying out academic researches with distinctive national spirits and aesthetic tastes, and forming a film school with Chinese aesthetic culture characteristics to strengthen the international influence and discourse power of Chinese films.Professor Hu Zhifeng from Beijing Normal University thinks that the construction of Chinese film school should root in the soil of Chinese culture, and the investigation of Chinese films should be made through the development venation of Chinese culture.In the venation of Chinese film art development in the past century, three historical motifs have been formed: revolutionary culture, film of the people and multi-dimensional opening-up.The antinomy in the ideologies and aesthetics in these three periods has deeply influenced the creative practice and
出处
《中国社会科学院研究生院学报》
CSSCI
北大核心
2019年第3期77-80,F0002,共5页
Journal of Graduate School of Chinese Academy of Social Sciences
