从“文人传统”到“文人电影”——对1940年代中国电影的一种考察  

From“Literati Tradition”to“Literati Film”:An Investigation on the Chinese Films in the 1940s

作　　者：安燕 AN Yan(Research Department of Chinese Film School,Adranced Inwution Center for Future Visual Entertainment,Bijing Film Academy,Beijing 100088;School of Humanities,Southwvest Jiaotong University,Chengdu,Sichuan 611756)

机构地区：[1]北京电影学院未来影像高精尖创新中心中国电影学派研究部,北京100088 [2]西南交通大学人文学院,四川成都611756

出　　处：《艺术百家》2020年第3期135-142,共8页Hundred Schools In Arts

基　　金：2018年度国家社科基金艺术学重大项目“中国电影学派理论体系构建研究”(项目编号:18ZD14)阶段性成果之一

摘　　要：1940年代战后出现了一批成就斐然的"文人电影",它们体现出疏离政治,重知识关怀和生命哲学,重主体意识的觉醒和张扬,关注人自身的问题,追求意气与思致、技巧与博雅,以及不拘常法、自出新意的特征。文章从文人传统分析"文人电影"集中出现的现实语境及深层动因;又从"意识形态"向"情感结构"的转移,从"惰性在场"与"抽象否定"的不拘常法,阐释"文人电影"深刻的"政治留白",肯定其富于超越面向的精神特质。After the war in the 1940s,a number of brilliantly accomplished"literati films"appeared,which reflected alienation politics,valued knowledge care and philosophy of life,valued the awakening and publicity of subjective consciousness,focused on human issues,pursued spirit and thought,skill and liberalism,while with unconventional and innovative features.Analyze the reality and the underlying reasons of the"literati film"concentration from the li-terati tradition concentration;the shift from"ideology"to"emotional structure",from the unconventionality of"inert presence"and"abstract negative",to explain the profound"political blankness",deep emotions,and profound thoughts of the"literati film",and to affirm its rich spiritual traits that transcend the orientation.

关 键 词：1940年代 文人电影 意识形态 情感结构 惰性在场 

分 类 号：J90[艺术—电影电视艺术]