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本文作于1929年8—9月间,现收入《爱森斯坦选集》六卷集,第二卷。它在爱森斯坦二十年代理论遗产中占有重要地位。文章一方面总结了他在蒙太奇理论、单镜头理论、电影特性及其表现手段的研究方面所进行的探索,另一方面也阐述了他后来进一步发展的富于创建的思想。 文章中可以看到别赫杰列夫的反射学对爱森斯坦的影响。这一学说带有机械论的性质,将人的心理活动的复杂现象归为简单的生物学的形式,而将心理学纳入形形色色的反射学的体系。爱森斯坦很快就放弃了别赫杰列夫的反射学,本文出现的他的某些论点及其术语,对于泛音蒙太奇理论并无任何原则性的意义,也不影响爱森斯坦作出判断的逻辑性。况且,爱森斯坦还赋予这些术语以个人的内容。譬如,爱森斯坦认为,刺激因素不是生理的因素,而是作用于观众感情和理性的心理生理学的因素,刺激是以艺术手法感染观众的复杂的心理过程,而不是机械的过程。 爱森斯坦在文中首次提出“泛音蒙太奇”的概念。他在考察公认的、已经熟练运用的“传统”蒙太奇手法时,力求扩大“蒙太奇 特征”和“蒙太奇表现力”的概念本身。他针对镜头的单义性提出镜头的思想含义和情绪的多义性(他很快便不再把镜头比作象形文字)。他把这种多义性称为“刺激因素综合体”。爱森斯坦通过影片《旧与?
This article for the August-September 1929 period, is now included in the “Eisenstein anthology” six volumes, the second volume. It occupies an important position in the theoretical legacy of Eisenstein in the twenties. On the one hand, the article summarizes his exploration of montage theory, single-lens theory, film characteristics and the means of his performance, and on the other hand, he elaborates on the founding ideas he later developed further. In the article, we can see the influence of Biekhjelev’s reflexology on Eisenstein. This theory, with its mechanistic nature, classifies the complex phenomenon of human mental activity into a simple form of biology and integrates psychology into a variety of reflexology systems. Eisenstein quickly abandoned Bijeljev’s reflexology. Some of his arguments and terms presented in this paper have no principle of significance in terms of harmonic montage and do not affect Eisenstein’s judgment Logical. Moreover, Eisenstein also gives these terms a personal content. For example, Eisenstein believes that stimulus is not a physiological factor, but a psychophysiological factor that acts on the feelings and rationality of the audience. The stimulus is a complex psychological process that infect the audience by artistic means rather than a mechanical process. Eisenstein first proposed the concept of “harmonic montage” in the text. While examining recognized, well-used “traditional” montage techniques, he sought to expand the notion of “montage” and “montage”. He made the lens of the meaning of meaning and emotional ambiguity for the camera’s unimportant (he soon no longer compared the lens as a hieroglyph). He refers to this kind of ambiguity as a “stimulus complex.” Eisenstein through the movie "old and?