“含混”:知觉现象学对电影剧作创意的启示  

“Ambiguity”:The Enlightenment of Perception Phenomenology to the Creativity of Movie Pays

作　　者：曾胜[1] Zeng Sheng(Zhejiang Communication Institute,Hangzhou,Zhejiang,310018)

机构地区：[1]浙江传媒学院文学院,浙江杭州310018

出　　处：《语文学刊》2018年第6期74-78,共5页Journal of Language and Literature Studies

摘　　要：剧作创意需要创意思维的支持,而创意思维又需要从哲学层面寻求突破。知觉现象学超越传统二元思维模式,强调知觉的主客一体和身心交融,在身体、语言、他者和自然等方面为电影剧作的创意带来诸多哲学启示。身体是我们领会世界的方式,语言是我们存在的表达,他者与我共存于世,自然是人和物共同构成的现象场。这些类型元素之间含混暧昧,但同时又辩证融合的特性,正是电影剧作创意的体现。The creativity of the movie play needs the support of creative thinking, and creative thinking needs to seek breakthroughs from the philosophy. Perception phenomenology goes beyond the traditional binary thinking mode, emphasizing the integration of the subject and the body and mind of perception, and brings many philosophical inspiration to the creativity of movie plays in terms of body, language, others, and nature. The body is the way we understand the world. The language is the expression of our existence. The other person and I coexist in the world. The nature is a phenomenon field composed of people and things. The ambiguity between these types of elements and the characteristics of dialectical fusion is the embodiment of the creativity of movie plays.

关 键 词：电影剧作 创意思维 知觉现象学 含混 

分 类 号：J905[艺术—电影电视艺术]