散文电影的物景、情境与时间语式  

Scene,SituationandTime Modeof Essay-film

作　　者：李啸洋 LI Xiaoyang

机构地区：[1]北京电影学院

出　　处：《电影理论研究（中英文）》2023年第3期14-25,共12页Journal of Film Studies

摘　　要：“物”作为形象而存在,构成散文电影的美学基质。散文电影中,物的存在松动了叙述链条,保存了时间的属性。雨、雾、雪、霜等自然环境成为生产散文电影氛围的美学机制。王昌龄的“景入理势”和德勒兹的“情动”有相似内涵。物带来的触感、气息与记忆等,成为构造情感-影像的基础。散文电影追求电影的感性效果,摒弃了亚里士多德以后确立的情节中心。散文电影中声音构成“临界距离”,作者、文本、观众和影像的生产与评价都在整个临界框架体系里运作。As an image exists,"substance"constitutes the aesthetic matrix of essay-film.In essay-films,the existence of objects loosens the narrative chain but preserves the attribute of time.Rain,fog,snow,frost and other natural environment become the aesthetic mechanism for producing the atmosphere of prose film.Wang Changling's"prospect scene"and Deleuze's"affect"share the similar connotations.The tactile impression,flavor and memory brought by the substance become the basis of constructing emotion-image.The essay-film pursues the perceptual effect of the film and abandons the plot center established since Aristotle period.The sound in the essay-film forms the"critical distance",and the production and evaluation of the author,the text,the audience and the image-all these operate in the whole critical frame system.

关 键 词：散文电影 物象 诗歌 情境 时间域 

分 类 号：J905[艺术—电影电视艺术]