基于“景观社会”理论的“奇观电影”之殇  

Downsides of“Spectacle Films”Viewed in the Light of the“Society of the Spectacle”Theory

作　　者：方景锋 吴春集 FANG Jingfeng;WU Chunji

机构地区：[1]上海视觉艺术学院,上海201620

出　　处：《上海视觉》2022年第2期53-57,共5页Shanghai Vision

摘　　要：随着电影的发展,在叙事电影之外,“奇观电影”的新范式逐渐发展起来,并占据了主导地位,成为主流电影。由于这类电影过分强调“视觉快感”,容易忽略故事合理性,许多情节经不起推敲,逻辑性不强,导致电影叙事性变弱。因此,美国哲学教授道格拉斯·凯尔纳指出“奇观(spectacle)”所造成的广泛“娱乐”迷惑之下,“大多数”会偏离自己本真的批判性和创造性,沦为“奇观(spectacle)控制”的奴隶。张艺谋导演的电影《悬崖之上》也没能脱离这样的魔咒,成为“奇观”的奴隶。本文试以劳拉·穆尔维提出的“奇观电影”为理论基础,分析电影《悬崖之上》的若干不足之处。With the development of film business,besides the narrative film,a new film form named“Spectacle Film”gradually developed,and finally occupied a dominant position and became the mainstream in the film business.Due to excessive emphasis on“visual pleasure”,the spectacle film is apt to overlook the rationality of the story,and as a result,many plots cannot stand scrutiny as they lack a strict coherent logic,thus weakening the film’s narrative.Therefore,Douglas Kellner,an American professor of the philosophy of education,points out that in the confusion of the widespread“entertainment”caused by the“spectacle”,“most people”will alienate from their own critical thinking and creativity and become enslaved by the“spectacle”.A film named Impasse directed by ZHANG Yimou also fails to escape from such a curse and has become enslaved by the“spectacle”.The article intends to take Laura Mulvey’s“spectacle film”notion as the theoretical basis,to analyze some downsides in the film Impasse.

关 键 词：奇观电影 视觉快感 悬崖之上 

分 类 号：J90[艺术—电影电视艺术]