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英国电影批评的主流总是注意“社会意义”、细致的心理刻划、艺术个性(被任意地放在导演身上)、“现实主义”,并把一种叫做“文学内容”的东西放在那种叫做“视觉风格”(往往是虚有其表的)的东西之上。这些艺术标准特别不适合电影。它们把电影媒介潜力的讨论降为一些法规式的名词(“诗的风格”一语就是人们最喜欢用的);它们无视这些学院式标准和广大公众的无师自通然而往往很精细的反应简直合不上。电影是许多才能的联合创造,因此有一种类似宗教神话的无名意义,但是他们却不去探索
The mainstream of British film criticism always pays attention to “social significance”, careful psychological delineation, artistic personality (arbitrarily placed on the director), “realism”, and put something called “literary content” there What is called “visual style” (often superficial). These art standards are particularly unsuitable for movies. They have reduced the discussion of the potential of the cinematic medium to nomenclature (“poetic style” is the favorite of people); they disregard these academic standards and the largely selfless but often subtle response of the general public Simply can not match. The film is a co-creation of so many talents that it has an anonymous meaning similar to religious myths, but they do not explore