什克洛夫斯基的电影诗学初探  

On Viktor Borisovich Shklovsky’s Film Poetics

作　　者：宋淑凤 赵晓彬[1] Song Shufeng;Zhao Xiaobin

机构地区：[1]哈尔滨师范大学斯拉夫语学院

出　　处：《俄罗斯文艺》2022年第1期54-65,共12页Russian Literature & Arts

基　　金：国家社科基金项目《什克洛夫斯基文艺理论与批评范式研究》(21BWW001)的阶段性成果。

摘　　要：俄国形式主义对电影理论的研究几乎与文学理论齐头并进,电影理论甚至成为形式主义文论的主旋律。如作为形式主义的重要人物之一,什克洛夫斯基的文论研究从开始就关注到电影诗学,涉及到电影的诗性、散文性及戏剧性等体裁特征,探讨过电影的隐秘与平行、情境与冲突、真实与虚构等情节特征,以及电影的画面、声音及蒙太奇等语言特征,这些诗学探索几乎贯穿什克洛夫斯基文论及批评的始终。The study of film theory from the perspective of formalist literary theory is almost synchronized with literary theory,and film theory even becomes the main theme of formalist literary theory.For example,as one of the important characters of formalism,Shklovsky’s theoretical study of poetics focuses on film poetry,with characteristics of prose and dramatic genre,and discusses the film mystery and parallelism,situation and conflict,real and fictional plot characteristics,as well as the film picture,sound and montage language characteristics,all of which almost run through Shklovsky’s theoretical study of poetics and criticism.

关 键 词：电影诗学 电影体裁 电影情节 电影语言 

分 类 号：J905[艺术—电影电视艺术]