实验电影的概念形成与历史挑战  

The Conceptual Formation and Historical Challenges of Experimental Cinema

作　　者：黄兆杰 Huang Zhaojie

机构地区：[1]北京大学艺术学院

出　　处：《电影艺术》2021年第4期41-47,共7页Film Art

摘　　要：以西特尼对"结构电影"的命名和《先知电影》的出版为节点,实验电影的历史可大致被分为两个阶段。二战后的实验电影对先锋电影时代艺术家电影、业余电影、电影工业内部实验三种传统的选择性继承,构建出实验电影的线性艺术发展史与正典,确立了实验电影的基本概念和准则。随之而来的正典批判、体制批判与新媒介技术的危机,不仅更新了实验电影的观念与实践,也印证了实验电影自身具有的预见性与变换边界的潜能。Taking Sitney’s naming of "structural film" and the publication of Visionary Film as the watershed, the history of experimental cinema can be roughly divided into two stages. The post-World War Ⅱ experimental cinema selectively inherited the three traditions of artist cinema, amateur cinema, and experiments within the film industry in the avant-garde era, and constructed a linear art history and canon of experimental cinema, establishing the basic concepts of experimental cinema. The ensuing crisis of canon criticism, institutional criticism and new media technology has not only renewed the concept and practice of experimental cinema, but also confirmed the potential of experimental cinema itself to foresee and change boundaries.

关 键 词：实验电影 结构电影 扩延电影 正典 业余 

分 类 号：J905[艺术—电影电视艺术]