法国“上镜性”电影理论溯源  

The Origin of French"Photogenic"Film Theory

作　　者：丁瑶瑶 班亮 DING Yaoyao;BAn Liang

机构地区：[1]南京艺术学院紫金文创研究院 [2]澳门科技大学人文艺术学院,中国澳门 [3]南京大学苏州校区产研总院

出　　处：《电影理论研究（中英文）》2023年第1期97-104,共8页Journal of Film Studies

摘　　要：“上镜性”是二十世纪初期的经典电影理论,由两位法国电影制作人、评论家路易·德吕克和让·爱泼斯坦展开系统性地阐述。研究采用历史语境法,通过对“上镜性”概念的详细梳理,发现该理论汇集了一系列的争论和相互矛盾的观点。虽然“上镜性”的定义模糊,但表现形式相对清晰。运动与节奏、特写镜头勾连了该理论的核心问题,凝视和身体感将该理论转化为具体的观看方式。对于“上镜性”的认识不仅是对早期电影理论精髓的挖掘,也是对媒介不断变化的当下电影理论的丰富。As a classic film theory of the early 20th century,the term"Photogenic"is systematically coined by two French film-mnakers and critics,Louie Drucker and Jean Epstein.Resorting to the historical context method,the author deduces the concept of"photogenic"in detail,and finds that the theory has brought together a series of debates and conflicting views.Ambiguous as"photogenic"is,its form of expression is relatively clear,in which all the elements,such as movement,rhythm and close-ups,correspond to the core of the theory,while gaze and bodily sense transform the theory into a concrete viewing way.For this reason,the comprehension of"photogenic"is not only conducive to the exploration of the essence of the early film theory,but also helps to enrich the current film theory with constantly changing media.

关 键 词：上镜性 节奏 特写镜头 凝视 身体感 

分 类 号：J90[艺术—电影电视艺术]