摘要
对影像如何表述历史问题的思考应与英美历史诗学的四重转义机制进行关联,但后者却存在对历史物质性与受众心理接受维度的双重忽视。在对自身缺憾弥补的基础上,影像历史诗学得以与注重二重转义机制的电影符号学进行区分,并考察影像如何表述历史的问题,以此实现从文字历史向影像历史的媒介形态拓展。有鉴于此,影像历史诗学推动了关于影像能否呈现历史可能性问题的思考,并明确其历史的表述是历史诗性与历史实在性之间协商的产物。
The four tropes mechanism of Anglo-American historical poetics should be compared to the issue of how pictures depict history,but this approach ignores both the materiality of history and the psychological reception aspect of the audience.The historical poetics of image can distinguish itself from cinematographic semiology,which focuses on the two tropes mechanism,by making up for its own shortcomings.By examining the issue of how images represent history,the historical poetics of image can realize the expansion of the media form from literal text to images.As their historical representations are the result of a dialogue between the poetics of history and reality,the historical poetics of image encourages the issue of whether images can represent the potential of history.
出处
《电影艺术》
北大核心
2023年第4期97-105,共9页
Film Art
基金
国家社科基金重大项目“丝路审美文化中外互通问题研究”(批准号:17ZDA272)阶段性研究成果。
关键词
转义机制
诗性
历史影像
电影符号学
影像历史诗学
the mechanism of tropes
poetics
historical image
cinematographic semiology
the historical poetics of image
