论影视批评中的“强制阐释”倾向  

On the Tendency of"Imposed Interpretation"in Film and Television Criticism

作　　者：丁莉丽 Ding Lili

机构地区：[1]浙江传媒学院电视艺术学院,浙江杭州310018

出　　处：《复印报刊资料（影视艺术）》2023年第10期59-66,共8页MOVIE AND TELEVISION ART

基　　金：2022年度国家社科基金艺术学一般项目“新媒体语境下影视批评伦理问题再研究”(项目编号:22BC040)阶段性成果之一。

摘　　要：“强制阐释”在当前影视批评中体现为三大表征:一是对西方理论生搬硬套,不但行文逻辑本末倒置,而且理论喧宾夺主挤压文本批评空间,导致影视批评文体被异化,影视评论的学术地位受到贬抑;二是批评偏离批评对象的本体特征,造成批评有效性的债乏和公共理性的缺失,影视批评的生态受到破坏;三是以泛化的意识形态作为前置立场对影视文本进行窜改,批评话语成为批评者自我意识的佐证,批评主体面临自我解构的风险。影视界应保持对“强制阐释”的警惕,加强对阐释伦理的探讨,捍卫批评的有效性和公共理性原则,使影视批评参与影视产业的良性运作。"Imposed interpretation"is reflected in three major characteristics in current film and television criticism:firstly,it mechanically applies Western theories,not only putting the logic of the writing upside down,but also squeezing the space for text criticism with theoretical noise,leading to the alienation of film and television criticism style and the academic position of film and television criticism being devalued;Second,criticism deviates from the ontological characteristics of the object of criticism,resulting in the lack of effectiveness of criticism and the lack of public reason,and the destruction of the critical ecology of film and television;The third is to use a generalized ideology as a pre position to tamper with film and tele-vision texts,and critical discourse becomes evidence of the critic's self-awareness.The critical subject faces the risk of self deconstruction.The film and television industry should remain vigilant against"Imposed Interpretation",strengthen the dis-cussion of interpretation ethics,safeguard the effectiveness of criticism and the principle of public reason,and enable film and television criticism to participate in the benign operation of the film and television industry.

关 键 词：影视批评 “强制阐释” 前置立场 公共理性 

分 类 号：J905[艺术—电影电视艺术]