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当下电影美学话语仍处于多元化的泛美学状态。作为学术概念的“电影美学”有待明确界定,应与相关相近的“电影学”“电影理论”“电影艺术”“电影文化”等概念有所区别。作为学科门类的“电影美学”的学科体系应逐渐明晰,以其学术流脉为主体。作为文体美学的“电影美学”的理论资源有两种:一种是具有哲学基础的一般美学,或广义的文艺学理论;另一种学术资源来自于电影创作实践,是自电影诞生百余年发展中实际形成的那些电影美学思想,主要是蒙太奇美学、戏剧化电影美学和纪实性电影美学。
The current movie aesthetic discourse is still in a diversified state of pan-aesthetic. The concept of “film aesthetics” as an academic concept needs to be clearly defined and should be distinguished from related concepts such as “movie theory”, “movie theory”, “movie art” and “movie culture.” As a disciplinary category “Cinema Aesthetics ” discipline system should be gradually clear, with its academic flow as the mainstay. As a stylistic aesthetics, there are two kinds of theoretical resources of “aesthetics of film”: one is general aesthetics with philosophical basis or broad theory of literary theory; the other academic resource comes from movie creation practice, The aesthetics of the movie actually formed in the later years of development are mainly montage aesthetics, dramatic aesthetics and documentary aesthetics.