钟惦棐与电影美学  

Zhong Dianfei and Cinema Aesthetics

作　　者：罗艺军 

机构地区：[1]中国电影评论学会,100073

出　　处：《文艺研究》2005年第1期81-94,共14页Literature & Art Studies

摘　　要：本文从几方面论述了钟惦的电影美学观 ,认为钟惦美学思想 ,潜移默化地继承了中国古典美学的许多特点。钟惦的电影美学思想的一个基点是 ,遵循电影的现实主义原则 ,坚持美与真的高度一致性。这种美学观念贯穿在他的全部论著中。作为一位富于实践理性的电影美学家 ,钟惦的现实主义美学对中国电影在两个方面有特殊意义和贡献。其一 ,鉴于电影整体逼真再现的特性迥异于中国传统美学的写意特性 ,中国人对电影的特性的认识和把握比较迟钝并多有反复。他的电影评论有助于推进和深化对这种舶来艺术的认识和把握。其二 ,更为重要的是 ,在他从事电影评论的年代 ,现实主义在中国电影中受到过多的干预 ,他不遗余力地加以捍卫 ,并作出了巨大贡献。This paper discusses Zhong Dianfei’s aesthetic views of cinema, holding that he has unconsciously inherited much from classical Chinese aesthetics in his cinema criticism. Adhering to the principle of realism and to the unity between the beautiful and the real is a pivotal point in Zhong’s theory and is elaborated throughout his writings on movies. As an experienced practitioner of cinema aesthetics, Zhong’ s realism has made two special contributions to Chinese cinema: firstly, his cinema criticism has promoted and deepened our understanding of this foreign art whose principle of realistic representation is quite different from the Chinese traditional principle of conceptual representation; secondly, and perhaps even more important, his cinema criticism serves as a resistance and a defense against the time in which realism suffers excessive intervention from the general political and cultural situation.

关 键 词：钟惦棐 电影美学 电影评论 中国电影 写意 美学观念 学思 现实主义原则 中国传统美学 中国古典美学 

分 类 号：J901[艺术—电影电视艺术]