史诗片与古代图像的“死后生命”  

The"Nachleben"of Ancient Images in Hollywood Epic Films

作　　者：王杉 Wang Shan

机构地区：[1]不详

出　　处：《电影艺术》2023年第3期68-74,共7页Film Art

摘　　要：史诗片创作对古代图像的参照与还原使其具有连通艺术史与电影史的潜力。图像自产生时起就已然挣脱传统艺术史视域下原境的束缚,其所蕴含的生命能量也在后世的跨媒介复现中持续生发。在诸如《党同伐异》《十诫》等史诗片实践中,古代图像与影像之间的偏见式壁垒被逐步消解,影像也由此进入古代艺术图像的阐释谱系。古代原物经由艺术家所制的复原图流转至电影银幕,不仅为原物赋予了属于特定媒介的独有意涵,也现出阿比·瓦尔堡所秉持的图像学立场。The restoration of ancient images in epic films has the potential to connect the history of art and film.Images have got rid of restrictions of the traditional art history since produced,the life energy within continued to flourish in cross-media reproduction of the future generation.Epic films such as Intolerance and The Ten Commandments have eliminated the barrier between ancient image and moving image.The"Nachleben"of ancient image onto the film screen through printed images not only endows the original with meanings belongs to a specific medium,but reflects Aby Warburg's iconography.

关 键 词：史诗片 古代图像 死后生命 《党同伐异》 《十诫》 

分 类 号：J110.9[艺术—艺术理论]