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一新时期的电影理论界是非常活跃而热闹的,但是,如果将它与文学理论界稍作比较的话,那也毋庸讳言,它显示着肤浅和僵滞:文学界对于方法论、本体论的探讨,我们是无法在电影界找到相应的轨迹的。简单地说,问题的症结在于我们的理论思考受制于商业轨道的电影制作过程,因为沿袭的电影企业有着导演、剧作、撮影、表演、美工等等分工部门,所谓电影理论便也相应创造出种种操作性的概念(其实是行话)和规律(其实是规则)而大谈特谈、浅入深出,实际上这无疑在谈论具体影片的制作,并未获得理论应有的抽象性。进而,它也
The movie theorists in a new era is very active and lively, but if we compare it with literary theory a little, it goes without saying that it shows superficiality and rigidity: the literary study of methodology and ontology , We can not find the corresponding trajectory in the movie industry. Simply put, the crux of the problem is that our theoretical thinking is subject to the commercial process of film production. Since the film companies that follow have direct divisions such as directors, drama, filming, acting, art and so on, the so-called film theory has also created All kinds of operational concepts (in fact, jargon) and law (in fact, the rules) and talk a little talk, more in-depth, in fact, it is undoubtedly talking about the production of specific films, did not get the theory should be abstract. And then, it too