作为政治实践的美学:柏林学派电影中坍塌的墙与再现的历史  

Aesthetics as a Political Practice:The Collapse of the Wall and the Historical Representation in Berlin School Films

作　　者：娄逸 Lou Yi

机构地区：[1]德国慕尼黑大学历史与艺术学院

出　　处：《电影艺术》2021年第6期17-22,共6页Film Art

摘　　要：在后柏林墙时代的德语电影中,柏林学派已逐渐成为最具学术魅力的一个标签。20世纪90年代以降,德国电影在处理德国分裂的历史方面大致涉及两个方向:一是在柏林墙倒塌后回望两种意识形态对立的时期,二是面对民主德国的消逝和社会转型,展现个体如何与全新的时代共处。在这样的创作语境中,柏林学派电影人的创作理念和美学理想成了一种与同时代主流电影截然不同的政治实践。某种程度上,这种"反叛"代表的正是对单向度的、静止的历史叙事的拒绝与抗争。In the discussion of the post-wall German films,Berlin School has gradually become one of the most noted terms.Since 1990s,German films generally involve two production patterns in dealing with the history of the West-East division:one is to look back at the period in which Germany was divided into two parts,the other is to display how individuals coexist with the new era in the face of the disappearance and social transformation of East Germany.In this context,the creative strategies and aesthetic ideals of Berlin School could be treated as a political practice that deviates from the contemporaneous mainstream films.This"rebellion"represents the rejection and resistance to the one-dimensional and static historical narratives.

关 键 词：柏林学派 德国电影 历史记忆 后柏林墙电影 

分 类 号：J909.8[艺术—电影电视艺术]