媒介难忘——电影媒介的美学分析  

On the Aesthetics of Film Media

作　　者：江渝[1] JIANG Yu(Art Academy,Three Gorges Universityy Yicang 443002f China)

机构地区：[1]三峡大学艺术学院

出　　处：《重庆邮电大学学报（社会科学版）》2019年第6期132-138,共7页Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)

基　　金：国家留学基金项目(留金发2018-3058)

摘　　要：媒介本质论将艺术形式与艺术媒介本质地连接在一起,认为创作、欣赏与评价等活动都应该立足于媒介的特性来进行;经典电影研究自觉地继承和发扬了以上命题。以卡诺尔为代表的后来者,主张在电影研究中"忘掉媒介",认为媒介只是工具,它不能限制艺术。但也有研究者并未放弃对艺术媒介的理论维护,例如高特,他将媒介的理论价值用三个媒介特殊论命题系统地呈现了出来,我们在认识、解释、评价和创造艺术品时,应立足于其特殊的媒介特性。而如果站在更为宽广的大众媒介的理论视野来理解电影与媒介,认识到电影作为大众艺术代表的地位,则能够合理地融汇卡诺尔与高特之间的二律背反。Medium essentialism holds that there are natural relationships between art forms and art media,which can control the artistic production,appreciation,evaluation and so on.Classical film theory was influenced by these propositions which were deeply criticized by some contemporary theorists,such as Carroll who wanted to overturn the medium essentialism.On the contrary,there are some researchers who would like to restructure the art medium theory,such as Gaut who re-clarified it through three medium specificity arguments.But if we reconsider the realms of both film and medium,we can reconcile the superficial contradiction.

关 键 词：媒介本质论 电影媒介 大众艺术 

分 类 号：B835[哲学宗教—美学]