日本电影美学(2020)  

The Aesthetics of Japanese Film 2020

作　　者： 王玉辉(译) Iwamoto Kenji

机构地区：[1]日本早稻田大学 [2]中国传媒大学艺术研究院

出　　处：《电影艺术》2020年第6期11-17,共7页Film Art

摘　　要：本文以"审美意识、美的观念或表现"为旨趣,将日本文化中的审美意识传统划分为电影产生前与产生后两部分。在审美作品中,一方面存在向内的"克制表达",另一方面存在向外的"过度表达"。尚不知这种简单的划分是否可以用来言说真正的日本电影美学,姑且作为日本电影的特点来讨论这两个极端。日本电影中的美学特质体现在摄影画面和电影剪辑的视觉表达上,也体现在与故事片结构和主题相关的叙事表达上。当然,也会有一些作品表现出反审美意识的特质。Under the title of "The Aesthetics of Japanese Film", with an interest in "aesthetic consciousness, the concept and expression of beauty", the article is aim to explain the tradition of aesthetic consciousness in Japan into two parts: pre-cinema and post-cinema. In aesthetic works, on the one hand, there is a "restrained expression" that goes inward, and on the other hand, there is an "excessive expression" that goes outward. It is unclear whether this simple division can be used to describe the true aesthetics of Japanese films, I would like to discuss the characteristics of Japanese cinema into these two extremes. The aesthetic qualities of Japanese films are reflected in the visual expression of the camera screen and film editing, as well as in the narrative expression related to the structure and theme of the feature films. Of course, there are some works which show anti-aesthetic qualities as well.

关 键 词：日本电影 审美意识 克制与过度 

分 类 号：J901[艺术—电影电视艺术]