从“中国影像程式”到“有中国意味的电影形式”——实践诗学视野下的电影语言民族化再探讨  

From“Chinese Film Conventions”to“Film Forms with Chinese Traits”——Revisiting the Nationalization of Film Language from the Perspective of Practical Poetics

作　　者：黄文杰 HUANG Wenjie(School of Journalism and Communicotion,Nanchang Unirersity,Nanchang 330031,China)

机构地区：[1]南昌大学新闻与传播学院,南昌330031

出　　处：《上海大学学报（社会科学版）》2022年第6期41-54,共14页Journal of Shanghai University(Social Sciences Edition)

基　　金：江西省社会科学基金一般项目(21XW03)。

摘　　要：在近年建构中国电影学派的学术热潮中,有学者倡导中国电影民族化研究的“语言学转向”,提出以承载评价(反沉迷)功能的主次正反打、跳轴“、主客间”构图等为代表的“中国影像程式”概念。在实践诗学和中西比较视野的观照下,“影像程式”在异质性表现方面存在严重缺陷,在自觉性意识与群体性应用方面也缺乏充分的说服力,尤其在表达意味上丢失了“中国性”。为此,我们应从文化精神的角度而非沉迷/反沉迷、评价/非评价的功能角度来区分中西电影美学并建构民族化的电影形式,也即“有中国意味的电影形式”。In recent years, with the academic boom of establishing Chinese schools of film studies, voices advocating the“linguistic turn”of the nationalization of Chinese film studies have arisen, putting forward the notion of“Chinese film convention”represented by such concepts as the primary and secondary shot/reverse shot, cross the line, the“subject/object”composition, which bear the evaluation(anti-addiction) function. From the perspective of practical poetics and the China-West comparative perspective,“film convention”is seriously defective in terms of heterogeneity and unconvincing in terms of consciousness and group application. Still more importantly, it loses its“Chinese traits”in expressions. Therefore, we should distinguish Chinese and western film aesthetics from the perspective of cultural essence instead of the functional perspective of addiction/anti-addiction or evaluation/non-evaluation, and construct a nationalized film form, or in other words,“film forms with Chinese traits”.

关 键 词：电影语言 民族化 中国影像程式 有中国意味的电影形式 

分 类 号：J01[艺术—艺术理论]