摘要
本文基于中国传统的空观思想和古典文艺的气论观念,结合媒介考古学的方法与路径,在对中外文艺美学和电影艺术诗学的比较观照中,进一步建构本土化的中国电影理论。在笔者看来,古今汉语词汇"电影"的意涵大体一致,内在承继;空观与气论正是电影"空气"说的中国美学根基;20世纪20年代以来的电影精神理论与电影艺术诗学,也成为电影"空气"说的西方美学背景。"空气"说滋养了一批杰出的电影作者,并彰显出中国电影"通天下一气"的美学精神。
Based on the traditional Chinese"kong view"and the"qi view"of classical literature and art,it is aimed to further construct the localized Chinese film theory by combining the methods and approaches of media archaeology and comparing the Chinese and foreign literary aesthetics and film art poetics.The ancient Chinese word of"电影"(lightning shadow)basically has the same implications as the modern word"cinema"which is internally inherited.The"kong view"and the"qi view"constitute the Chinese aesthetic foundation of the"kong qi"theory of Chinese film and the film spirit theory and film art poetics since the 1920s have also been absorbed into the theory as the western aesthetic nutrition.With the exchanges and dialogues between the ancient and the modern,China and other countries,the"kong qi"theory has nurtured a large number of outstanding Chinese film authors and highlighted the aesthetic spirit of"one world one qi"of Chinese films.
出处
《电影艺术》
CSSCI
北大核心
2021年第2期10-16,共7页
Film Art
关键词
中国电影
美学精神
空观
气论
“空气”说
Chinese film
aesthetic spirit
"kong view"
"qi view"
"kong qi"theory
