论域外行旅对中国早期电影观念的影响  

Influence of Sojourn Abroad on the Concept of Early Chinese Film

作　　者：陈悦[1] 陈吉德[1] Chen Yue;Chen Jide(School of Literature,Nanjing Normal University,Nanjing Jiangsu,210003)

机构地区：[1]南京师范大学文学院,江苏南京210003

出　　处：《山东师范大学学报（社会科学版）》2024年第2期116-126,共11页Journal of Shandong Normal University(Social Sciences)

基　　金：国家社科基金艺术学重大项目“戏剧与影视评论话语体系及创新发展研究”(23ZD07)的阶段性成果。

摘　　要：中国早期电影艺术观念在中国早期本土语境中经历了对电影本性和电影美学不断探索的过程。在这个过程中,域外行旅的电影人在中国早期电影的艺术观念的形塑与发展方面作出了巨大贡献。在电影本体的探索方面,行旅者使得电影从戏剧的从属地位中逐渐抽离出来,成为一门独立艺术,并突出了电影的心理叙事和可视化本性;在电影美学方面,行旅者从电影的基本构成要素出发,注重画面的整体美感,并逐渐具备电影摄影、镜头、节奏、蒙太奇等美学意识;在编导观念方面,行旅者开始了剧本电影化的探索并逐步规范了电影剧本的分镜头格式,确立导演中心制;在表演观念方面,行旅者强调表演的真实性与想象力,并注重内心动作的刻画。这些电影观念为中国早期电影艺术创作提供了丰富有力的理论导向。The concept of early Chinese film art experienced the process of exploring the nature of film and film aesthetics in the local context of early China.In this process,Chinese filmmakers who sojourned abroad made great contributions to the shaping and development of the artistic concept of early Chinese film.In the process of exploring the film ontology,the sojourners made the film gradually detach from the subordinate position of the drama and become an independent art,and pointed out the psychological narrative and visual nature of film.In terms of film aesthetics,the sojourners started from the basic elements of film,paid attention to the overall beauty of the picture,and gradually acquired the aesthetic awareness of cinematography,lens,rhythm,montage and so on.In terms of the concept of the director,the sojourners began to explore the screenplays,and gradually standardized the shooting format of the screenplays and established the director-centered system.In terms of performance concept,the sojourners emphasized the authenticity and imagination of performance,and focused on the portrayal of inner emotions.These film concepts provided rich and powerful theoretical orientation for the early Chinese film art creation.

关 键 词：域外行旅 电影本体 电影美学 编导观念 表演观念 

分 类 号：J992[艺术—电影电视艺术]