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世界已进入1991年,中国人民将迎来中国共产党诞生70周年大庆。电影创作者们在满怀激情地努力拍摄优秀影片,电影理论工作者也不甘落后,决心奉献出一批理论成果作为向党庆的献礼。众所周知,电影理论研究往往落后于电影创作实践,也往往落后于兄弟文艺理论。面对不同历史时期一批批电影佳作,却少有与之相称的电影理论问世。强烈的历史使命感和时代责任感催唤着理论工作者,去追随创作的足迹,去把握电影发展的规律,去寻求对于电影的真理性认识。一位资深美学家说得好:“历史上向前一步的进展,往往是伴着向后一步的探本穷源。”电影实践向电影理论提出多少新的命题!摆在电影理论界面前的任务是繁重而艰巨的。从本期开始,我们在《电影新作》编辑部的支持下,特辟《电影新视野》栏目,陆续发表若干理论文章,其中有的属于应用理论范畴,有的属于基础理论范畴(包括电影新学科)以及若干专题研究文章。这些作者大部分从事电影理论研究,也有一部分从事电影创作。他们试图从不同的视角,对实践提出的命题作出一定的探讨,希望对未来的创作实践有所助益。这期先发表边善基的《乐为时代唱大风》和王稼钧的《新时期电影美学的创新》两篇文章,以飨读者。上海电影艺术研究所
The world has entered 1991, and the Chinese people will celebrate the 70th anniversary of the birth of the Chinese Communist Party. Filmmakers are passionate about filming excellent films. Film theory workers are not far behind. They are determined to dedicate a number of theoretical achievements as a tribute to the celebration of the party. As we all know, the film theory research often lags behind the practice of film creation, but also often lags behind the theory of brother literature and art. In the face of batches of film masterpieces in different historical periods, there are few comparable theories of film come out. Strong sense of historic mission and sense of responsibility of the times call for theoretical workers, to follow the footsteps of creation, to grasp the law of film development, to seek the truth of the film to understand. A senior esthetician put it well: “Progress in the past is often followed by exploration of the source of backwardness.” How many new propositions the movie’s practice put forward to film theory! The task is arduous and arduous. Starting from this issue, we have published a number of theoretical articles with the support of the editorial department of “New Works of Film” and published a number of theoretical articles in succession, some of which belong to the category of applied theory. Some belong to the category of basic theory (including the new movie Disciplines) and several thematic research articles. Most of these writers engaged in the study of film theory, but also part of the film creation. They try to make some discussions on the propositions put forward by practice from different perspectives and hope to be helpful to their future practice. In this issue, we first published two articles entitled Be Good at Singing for the Times and Wang Jiajun’s Innovative Film Aesthetics in the New Era. Shanghai Film Art Institute