摘要
爱森斯坦蒙太奇理论内含着"压缩——爆破"这一重要的动力原理,体现出他对艺术普遍规律性的深刻理解。爱森斯坦对梅兰芳京剧艺术的赞誉以及他试图将京剧表演引入电影体系的理论考量,尤其值得从艺术和美学的深层观念展开思考。中国传统美学的"气韵"说体现在艺术创作的诸多领域,同样具有"凝缩——释放"的内在肌理,在费穆和王家卫等著名导演的作品中均有精彩呈现。由此,足以体现出中国传统美学观念对电影形式与风格的重要实践意义。
Eisenstein’ s montage theory contains the important dynamic principle of "compression—explosion", which reflects his deep understanding of the universal artistic rule. Eisenstein’ s praise of Mei Lanfang’s Peking Opera Art and his plan to introduce Peking Opera performance into film system are especially worth thinking from the perspective of artistic and aesthetic concepts. The theory of " Qiyun" in Chinese traditional aesthetics, embodied in many fields of artistic creation, also has the inherent texture of "condensation—release " and is brilliantly presented in the films of famous filmmakers such as Fei Mu and Wang Jiawei. Therefore, we can see important practical significances of Chinese traditional aesthetic concepts to cinematic form and style.
出处
《电影艺术》
CSSCI
北大核心
2021年第3期51-58,共8页
Film Art
基金
国家社科基金项目“中华文化与华语电影美学关系研究”(批准号:16BZW161)阶段性成果。
关键词
中国美学
电影
气韵
蒙太奇
Chinese aesthetics
film
qiyun
montage
