农耕仪式、神话意识:经典时期中国西部电影的审美维度  

Farming Ceremony and Mythology Consciousness: Aesthetic Dimension of Chinese Western Movies during Classic Period

作　　者：赵涛[1] 

机构地区：[1]西北大学文学院,陕西西安710069

出　　处：《西北大学学报（哲学社会科学版）》2016年第6期144-148,共5页Journal of Northwest University：Philosophy and Social Sciences Edition

基　　金：教育部社会科学基金(10XJC760004);陕西省社会科学基金(13J044)的阶段性成果

摘　　要：借助文化人类学、美学等综合视角来观照经典时期中国西部电影的审美特征。与美国西部片的拓荒和文明相互演进不同,经典时期的中国西部电影突出表达个体在奋斗中对土地的剥离,表现为人与土地生存悖谬关系的一种矛盾呈现;通过仪式化的镜头、画面、细节,表达对传统农耕文化既负重而又依恋的矛盾情感;对自然和英雄等图腾的崇拜、敬畏,同时具备了原始神秘的野性意识和恣肆张扬的现代意识,又有鲜明的寻根倾向,传达出独特的农耕影像旨趣,形成与上世纪90年代以后中国西部电影追求类型化和市场化诉求迥乎不同的审美范式。This paper contemplats aesthetic characteristics of Chinese western movies during classic period in virtue of cultural anthropology, aesthetics and other integrated views. Different ring and culture in American western movies, Chinese western movies fest that the individual becomes independent of lands when during from evolution between pionee-classic period profoundly mani- struggling, as is shown by the contradiction of 1iv- ing paradox relationship between humans and lands; the contradictory emotion to traditional farming culture, both burdened and attached, via ceremonial shots, pictures and details; adoration and reverence to the nature, hero and other totems, original ＆ mysterious savagery consciousness and unrestrained ＆ remarkable modern consciousness, as well as bright root - searching trend. The movies during classic period deliver unique farming pictures, and form the aesthetic paradigm which is quite different from the demand in pursuing categorization and marketization after 1990s.

关 键 词：中国西部电影 农耕仪式 神话意识 影像旨趣 审美维度 

分 类 号：J0[艺术—艺术理论]