西方经典电影理论中的“电影之美”

发布时间：2018-05-26 01:42

本文选题：西方美学 + 电影理论　；参考：《武汉理工大学》2015年硕士论文

【摘要】：传统美学为电影理论提供了审美判断的标准,对西方经典电影理论中的“电影之美”的辨识需要以传统美学为基础。本文通过分析康德对审美非功利性的系统阐述、叔本华对审美活动所具有的现实否定功能的肯定、克罗齐对审美活动中感性直觉的强调以及克莱夫·贝尔对艺术纯粹形式的要求,得出审美活动作为与其它活动相区别的独立存在,在审美活动中具有非功利性这一特点。通过分析黑格尔对自我确证的系统阐述、叔本华对普遍自我本质的认识以及尼采对审美活动中生命力的感知,得出审美活动还应实现审美主体的自我确证这一审美体验。审美的非功利性和自我确证性以及其分别导致的距离感和亲切感,作为基本的审美特性和对“电影之美”中“美”的判断基础,在西方经典电影理论中得到了继承。本文着眼于明确地表述了电影特性的电影理论,即:经典好莱坞连贯叙事理论、爱森斯坦的蒙太奇电影理论以及巴赞的“现实主义”电影理论,这三者体现出经典电影理论时期的三种主要倾向。通过对这三种电影理论的形式特性以及形式目的的分析,确定三者对审美的非功利性和自我确证性以及其分别导致的距离感和亲切感在不同程度上的继承。经典好莱坞连贯叙事理论在其形式中强调出审美的亲切感,而在其内在目的中则注重营造与现实生活的距离感。爱森斯坦的蒙太奇电影理论在形式上强调与实际经验的距离感,而在其内在目的中则体现出基于阶级意识的自我确证。巴赞的“现实主义”电影理论体现出距离感与自我确证在“完整现实”建构中的辩证统一。在分析了三种电影理论对传统美学的继承后,总结出这三种电影理论中分别体现出的“电影之美”,即:“电影之美”在于营造一个完整的虚构世界;“电影之美”在于形式手段与理念的统一;“电影之美”在于“客观现实”的完整再现,并对其间关系以及在实际欣赏中的体现进行了简要的论述。
[Abstract]:The traditional aesthetics provides the aesthetic judgment standard for the film theory, and the identification of the "film beauty" in the western classic film theory needs to be based on the traditional aesthetics. By analyzing Kant's systematic exposition of aesthetic non-utilitarianism, Schopenhauer's affirmation of the realistic negative function of aesthetic activity, Croce's emphasis on perceptual intuition in aesthetic activities and Clive Bell's demand for pure form of art show that aesthetic activities, as an independent existence distinct from other activities, have the characteristics of non-utilitarianism in aesthetic activities. By analyzing Hegel's systematic explanation of self-corroboration, Schopenhauer's understanding of universal self-nature and Nietzsche's perception of vitality in aesthetic activities, it is concluded that aesthetic activity should also realize the aesthetic experience of self-corroboration of aesthetic subject. The non-utilitarian and self-corroboration of aesthetics, as well as the sense of distance and affinity caused by them, as the basic aesthetic characteristics and the basis of judging "beauty" in "the Beauty of the Film", have been inherited from the western classical film theory. This paper focuses on the film theory which clearly describes the characteristics of the film, that is, classic Hollywood coherent narrative theory, Eisenstein's montage film theory and Bazan's "realistic" film theory. These three reflect the three main tendencies in the period of classical film theory. Through the analysis of the formal characteristics and the formal purpose of the three film theories, it is determined that the three theories inherit the non-utilitarian and self-corroboration of aesthetics and the distance and affinity caused by them in different degrees. The classical Hollywood coherent narrative theory emphasizes aesthetic affinity in its form, while in its internal purpose it pays attention to creating a sense of distance from real life. Eisenstein's montage film theory emphasizes the sense of distance from practical experience in form, but reflects the self-confirmation based on class consciousness in its internal purpose. Bazan's "realism" film theory embodies the dialectical unity of distance and self-confirmation in the construction of "complete reality". After analyzing the inheritance of the three film theories to the traditional aesthetics, the author summarizes the "beauty of the film" embodied in the three kinds of film theories, that is, "the beauty of the film" lies in creating a complete fictional world; "Beauty of film" lies in the unity of form means and idea, and "beauty of film" lies in the complete reproduction of "objective reality", and briefly discusses the relationship between it and its embodiment in actual appreciation.
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J901

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