电影中的流动与切割美学:走向东亚思想向西方电影理论的跨国转移  

The Aesthetics of Flow and Cut in the Way of Film:Towards Transnational Transfers of East Asian Concepts to Western Film Theory

作　　者： 阮加乐(译) Simon Frisch(Faculty of Media,Bauhaus-Universitat Weimar,Weimar,Germany,99423)

机构地区：[1]魏玛包豪斯大学媒体学院,德国魏玛 [2]南京师范大学文学院影视学系,江苏南京210000

出　　处：《艺术生活》2022年第1期33-40,共8页Art & Life

基　　金：江苏省哲学社会科学重点项目“中国当代电影主流意识形态建构研究(1979—2018)”(项目编号:19YSA002)。

摘　　要：电影美学理论的一般概念仍然植根于西方传统。因此,对电影的思考主要是被西方术语和美学范式所主导,例如“作品”、对现实的再现或将这种艺术视为一种传播行为。依此角度难以描述电影影像的不同特征,例如其瞬息性。与西方思维相反,东亚的文化传统建立在“道”的概念上,“道”允许描述过渡和转换的美学。受到日裔德籍哲学家高桥良介所提出的“切割——延续性”概念的启发,本文将描述一些替代西方思维的方法,用以理解与电影画面有关的表象与发生。The general concepts in theorising the aesthetics of film are still rooted in occidental traditions.Thus,thinking about film is dominated by Western terms and aesthetic paradigms-such as“pieces of work”,the representation of reality or regarding the arts as an act of communication.From such an angle,it is difficult to describe different characteristics of the cinematic image,for example,its ephemeral character.In contrast to occidental thinking,the cultural traditions of East Asia are based on the concept of the way(do or dao),which allow for the description of aesthetics of transitions and transformations.Inspired by the concept of kire-tsuzuki,as developed by the Japanese-German philosopher Ryosuke Ohashi,I shall,in this paper,describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture.

关 键 词：电影图像 电影美学 美学理论 插花 切割 艺道 电影哲学 日本美学 跨文化思考 

分 类 号：J901[艺术—电影电视艺术]