马克思主义视域下的中国电影理论演变  

The Evolution of Chinese Film Theory Examined from the Marxist Perspective

作　　者：王一川[1,2] Wang Yichuan

机构地区：[1]北京师范大学文艺学研究中心 [2]北京大学美学与美育研究中心

出　　处：《电影艺术》2021年第4期3-10,共8页Film Art

基　　金：2018年度国家社科基金艺术学重大项目“文艺发展史与文艺高峰研究”(项目批准号:18ZD02)阶段性研究成果。

摘　　要：百年间,马克思主义视域下的中国电影理论经历了复杂而曲折的演变,陆续出现了四个时段。中国化马克思主义给中国电影理论带来了基本的东西:输入一种深广而厚重的社会革命论范式,在面向外来理论开放时坚持将其中国化,且传承和光大本民族艺术传统,回答了电影艺术为谁服务和如何服务等基本问题,重视电影理论与批评建设。通向新百年的中国电影理论需要建设影像修辞美学、外国电影史论、中国影文学、电影艺术公赏力美学和电影哲学等。Examined from the Marxist perspective,Chinese film theory has undergone complex and complicated evolution in the past one hundred years,and consequently can be divided into four consecutive phases.Throughout those phases,a sinicized Marxism has exerted some decisive influence on Chinese film theory:introducing a social-revolutionary paradigm with great depth and breadth;persisting in localizing foreign theories as well as advancing the national art tradition;responding to the fundamental questions about for whom films are made and the ways in which the cinema should serve its function;and prioritizing studies on film theories and criticism.As moving forward in the new century,Chinese film theory needs to focus on the following critical issues,that is,developing a rhetorical aesthetics of the image,improving writings on foreign film history and criticism,formulating a ying-wen(image-pattern)analysis of the cinema,and conceiving a public art literacy associated with cinematic aesthetics.

关 键 词：马克思主义视域 中国电影理论演变 现实主义论范式 影文学 

分 类 号：J90[艺术—电影电视艺术]