电影何以神话?——日常生活批判视域下的《世俗神话:电影的野性思维》  

Why Cinemas are Mythologies——The Profane Mythology:Savage Mind of the Cinema from the Perspective of Criticism of Everyday Life

作　　者：李巍 Li Wei

机构地区：[1]惠州学院文学与传媒学院

出　　处：《媒介批评》2023年第1期204-221,共18页Media Criticism

基　　金：广东省教育科学规划课题(课题编号:2021GXJK032);惠州市哲学社会科学(学科共建-惠州学院)项目(项目编号:2022zx065)的阶段性研究成果。

摘　　要：伊芙特·皮洛在《世俗神话:电影的野性思维》中将电影界定为世俗神话,因为电影的思维、功能和形式与传统神话无异。不过伊芙特颇具后现代特色的论证和文风未能充分阐释电影乃世俗神话的结论,遗留的逻辑缺陷在日常生活批判理论的介入下能被有效弥补。日常生活的日益分化导致神话思维在现代社会隐退,这是电影的整体性思维被大众接纳的社会基础。电影通过肢体智性提供的凝聚功能和乌托邦想象建基于日常个体的感性突变之上,突变表现为日常个体的非个性化。现代生活的整体祛魅则激发了现代艺术的陌生化冲动,由此电影文本的转喻性和隐喻性才能是一种天然的神话形式。In Profane Mythology:Savage Mind of the Cinema,Yvette Biro defines Cinema as profane mythology,because they are very similar in terms of thinking,function,and form.However,Yvette s argument did not fully support the conclusion of the book,and the remaining logical gaps can be effectively filled with the intervention of criticism of everyday life.The increasing differentiation of everyday life has led to the decline of mythical thought in modern society,which is the social foundation for the overall thinking of cinemas to be accepted by the public.Cinema can provide the function of uniting together and utopian imagination through limb intelligence,because the emotional state of everyday individuals gradually becomes non personalized.The overall disenchantment of modern life stimulates the defamiliarization impulse of modern art,so the metonymy and metaphor of cinema text is a natural form of mythology.

关 键 词：日常生活批判 伊芙特·皮洛 神话 电影 野性思维 

分 类 号：J905[艺术—电影电视艺术]