完整现实的神话:现象学与巴赞电影理论再探  

The Myth of Total Reality:Revisiting Phenomenology and Bazin’s Theory

作　　者：秦喜清[1] Qin Xiqing

机构地区：[1]中国艺术研究院电影电视研究所

出　　处：《电影艺术》2023年第1期30-37,共8页Film Art

摘　　要：中国电影学界经历了对现象学与电影理论的关联的再发现。21世纪以来,这一关联引发了学术界的很多关注。巴赞理论的现象学维度可追溯到胡塞尔和海德格尔哲学的跨国和跨学科思想旅行,它们影响到萨特和梅洛-庞蒂并进而进入电影界。巴赞对影像本体论、完整电影和事实—影像的论述带有现象学还原的色彩,他的段落镜头、景深镜头和长镜头理论则可以从现象学的现实主义角度重新理解。从电影表达的多样性和开放性而言,这些理论仍有启示意义。Chinese film studies has experienced a rediscovery of the connection between phenomenology and film theory.Since the 21st century,this connection has generated much academic attention.The phenomenological dimension of Bazin’s theory can be traced back to the transnational and interdisciplinary intellectual journeys of Husserl and Heideggerian philosophy,which influenced Sartre and MerleauPonty and,in turn,entered the film world.Bazin’s discourse on the ontology of cinematic image,total cinema and fact-image is tinged with phenomenological reductionism,while his theory of the sequence shot,depth-of-field shot and long take can be reconceptualized in terms of phenomenological realism.In terms of the diversity and openness of cinematic expression,these theories remain instructive.

关 键 词：现象学 巴赞 埃弗尔 多义性 完整现实 新现实主义 

分 类 号：J90[艺术—电影电视艺术]