摘要
如果说西方电影从蒙太奇到景深-长镜头美学,完成了如何拍摄意象、呈现事象的理论概括,那么,中国意象理论以“象”与道、意、情的关系,解释了电影在人类思维活动中的重要性。就意象创构的方式来说,“物象”对列组合就是爱森斯坦的理性蒙太奇;以“境”创构意象,对应于巴赞的景深-长镜头美学。在儒释道文化,尤其是中观思想及其肯定与否定并存的言说方式的影响下,意象在有无、真幻、似非之间,形成空灵兼充实的生命之美,又为当下中国电影在力量美学之外提供了另一种美学理想。概言之,中国意象理论能够更好地理解现代电影的本质,促成新的电影观念与形式风格,理应成为中国电影美学重要的资源。
Western film theory,from montage to depth lens,has completed the theoretical generalization of how to capture and present phenomena.In contrast,Chinese imagery theory explains the importance of film in human thinking activities with the relationship of image and Tao,meaning and emotion.From the method of creating imagery,the dynamic generation method in the combination of imagery is Eisenstein's rational montage,while the method of creating imagery through realm corresponds to Bazans depth-long lens aesthetics.Under the influence of Confucianism,Buddhism and Taoism,especially the combination of affirmation and negation of Madhyamika,imagery forms an ethereal and fulilling beauty of life between existence,truth and illusion,providing another aesthetic ideal for contemporary Chinese films beyond power aesthetics.In summary,Chinese image theory can provide a better understanding of the essence of modern cinema,promote new film concepts and formal styles,and should,therefore,become an essential resource for contemporary Chinese film aesthetics.
作者
陈林侠
CHEN Lin-xia(Department of Chinese,Sun Yat-sen University,Guangzhou 510275,Guangdong)
出处
《厦门大学学报（哲学社会科学版）》
CSSCI
北大核心
2023年第4期139-149,共11页
Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)
基金
国家社会科学基金重大项目“中国电影文化竞争力与海外动态数据库建设”(19ZDA271)。
关键词
意象理论
对列组合
以境造象
空灵
影像本体论
imagery theory
image combination
creating imagery through realm
life aesthetics
ontology of images
