论本雅明电影理论的三个概念工具——对“灵韵”、寓言理论、影像构筑的解析  

On the Three Conceptual Tools of Benjamin’s Film Theory——Analysis of “Aura”, Allegory Theory and Image Construction

作　　者：李小倩 王纯菲[1] Li Xiaoqian;Wang Chunfei(College of Liberal Arts,Liaoning University,Shenyang Liaoning 110036;College of Foreign Languages,Liaoning Petrochemical University,Fushun Liaoning 113001)

机构地区：[1]辽宁大学文学院,辽宁沈阳110036 [2]辽宁石油化工大学外国语学院,辽宁抚顺113001

出　　处：《沈阳师范大学学报（社会科学版）》2022年第2期82-88,共7页Journal of Shenyang Normal University(Social Science Edition)

基　　金：国家社会科学基金重大项目(19ZDA266)。

摘　　要：本雅明在《技术复制时代的艺术作品》中,先见性地察觉到在现代技术革命浪潮的冲击下,经过“技术祛魅”后新生的艺术形式——电影。他高度认可电影的独特价值,认为随着独属于传统艺术的“灵韵”不断消散,电影紧紧依托于科学技术的发展和进步,创造出了独属于自身时代的艺术范本。同时,本雅明还创造性地将运用自身的“灵韵”和寓言理论作为重要理论基础,不断丰富自身电影理论的意义内涵和审美范畴。他认为,电影呈现世界的方式,与其独特的寓言理论异质同构,影像化地呈现了他心中的寓言世界。Benjamin foresees that under the impact of modern technological revolution, a new art form will emerge through technology: film. He recognizes the unique value of films. He believes that with the disappearance of “Aura” in traditional art, films will create unique artistic models by relying on the development of science and technology. At the same time, Benjamin enriched the meaning and aesthetic category of his film theory creatively on the basis of“Aura”theory and allegory theory. He believes that the way that the film presents the world is consistent with the core of its unique allegory theory. The film presents the allegory world of his mind vividly.

关 键 词：本雅明 寓言 “灵韵” 电影 

分 类 号：J904[艺术—电影电视艺术]