中国电影理论的“体用”之学  

The Study of “Ti and Yong” in the Theory of Chinese Films

作　　者：李洋[1] Li Yang(School of Arts,Peking University,Beijing,100871)

机构地区：[1]北京大学艺术学院,北京100871

出　　处：《民族艺术研究》2023年第1期72-79,共8页Ethnic Art Studies

基　　金：2021年国家社科基金艺术学项目“西方影像哲学研究”(项目批准号:21BA025)的阶段性研究成果。

摘　　要：在电影学界不断倡导中国电影学派建设之时,回到中国古代的“体用之辨”的历史中,尤其是结合清末的洋务派和李泽厚在20世纪80年代提出的将“体用”与“中西”结合的思想,中国电影可以通过重提“西体中用”来进行其理论的复兴。冯友兰与李泽厚都强调,理论并非是“体”,而是“用”,故而我们可以西方电影为对象,运用中国理论发现、叙述和阐扬其历史与价值。关于此,张建德和范可乐两位学者有所建树。中国古代艺术理论传统中的“品级论、溯流别”与“以意逆志”可作为其示范的方法。When the film academic circle continuously discusses the construction of the Chinese film school, it is possible to revive the theory of Chinese films through the idea of “Western ti and Chinese yong” if we come back to the dispute of “ti and yong” in ancient Chinese history, in particular the Westernization Group in the late Qing Dynasty and Li Zehou’s idea of the integration of “ti and yong” and “West and China” in the 1980s. Both Feng Youlan and Li Zehou emphasized that theory is not “ti” but “yong”, so that we can use Chinese theories to discover, narrate and illustrate the history and value of Western films, which is regarded as the object. Scholars Zhang Jiande and Fan Kele have contributed to these studies. Exemplified methods can be found in the ideas of “assessing ranks and tracing origins” and “guessing others’ thought with his/her thought” in ancient Chinese art theories.

关 键 词：中国电影理论 体用之辨 中体西用 西体中用 品级论 溯流别 以意逆志 

分 类 号：J909.8[艺术—电影电视艺术]