复访机制与电影艺术的“杜尚时刻”  

Revisiting Mechanism and the Duchampian Moment in Film Art

作　　者：谢建华 Xie Jianhua

机构地区：[1]四川师范大学影视与传媒学院

出　　处：《电影艺术》2022年第1期73-81,共9页Film Art

摘　　要：翻拍、重制、改编、续集、前传等增殖性创作层出叠见,凸显了原创与重复在电影生产中日趋加剧的矛盾。以复访为理论工具介入此问题,可祛除我们对重制现象的迷思。它表明:一、电影是复访性艺术,具有双重再现属性:既再现影像,也通过影像再现知识或知识范式。二、复访机制否定原创性,改变了电影通过形式、主题或真实标准所建构的艺术自律。三、复访影像构成了电影艺术的"杜尚时刻",暗示着观念解放、材料扩能和观众蝶变的契机。Remake, reworking, adaptations, sequel, prequels and other proliferative creations have emerged one after another, highlighting the growing contradiction between originality and repetition in film production. Intervening in this issue with revisiting as a theoretical tool shows: 1. Film is a revisiting art with dual reproduction attributes, it not only reproduces images, but also reproduces knowledge or knowledge paradigms through images. 2. The revisit mechanism denies originality and changes the autonomy of art constructed by the film through form, theme or realistic standard. 3. The revisiting mechanism constitutes the “Duchamp Moment” of film art, suggesting an opportunity for the liberation of concepts, the expansion of materials, and the audience’s transformation.

关 键 词：复访艺术 杜尚时刻 电影本性 重启电影 

分 类 号：J905[艺术—电影电视艺术]