电影静默及其美学形态——以重读巴拉兹·贝拉为核心  

Cinematic Silence and Its Aesthetic Forms:Re-reading Bela Balazs

作　　者：郝瀚 Hao Han

机构地区：[1]北京电影学院导演系

出　　处：《电影艺术》2023年第5期103-109,共7页Film Art

摘　　要：静默作为贯穿世界电影发展史的重要语言实践与美学现象,根植于巴拉兹·贝拉的电影声音辩证法:默片无法表现静默,静默是有声片的本性,其主体是“可见的人”。电影静默呈现戏剧性、空间真实感及作为核心的可见性/身体性三种美学样态。受反语言思潮、视觉艺术的身体转向影响,静默美学在现代/后现代语境下表征为“电影缄默症”。静默美学以可见身体表征不可见精神,藉此直抵语言难以触及的意义边界,并对拓展当下电影理论研究及指导电影创作具备价值。As a kind of important cinematic language and aesthetic phenomenon,cinematic silence has been present throughout the history of world cinema.From Bela Balazs's dialectics of cinema sound,silent cinema cannot represent silence itself.As the essence of sound cinema,the subjectivity of cinematic silence is"visible man",Cinematic silence has three aesthetic modes:dramatic,real spatial sense and visibility/corporeality as its core.Under the influence of"anti-language"and"body turn",cinematic silence represents as symptomaticof"cinematic mutism"in the modern/postmodern cinematic context.Cinematic silence represents invisible spirit by visible body,thus reaching the boundary of meaning that languagecannot reach.

关 键 词：电影美学 电影静默 巴拉兹·贝拉 电影声音 身体理论 

分 类 号：J901[艺术—电影电视艺术]