现象学视野中的《小城之春》(1948)  

Immersed in the Air:A Phenomenological Approach to Spring in a Small Town(1948)

作　　者：窦苗 Dou Miao(Washington University in St.Louis,USA)

机构地区：[1]美国圣路易斯华盛顿大学

出　　处：《探索与批评》2024年第1期118-134,共17页Inquiry and Criticism

摘　　要：受电影学者维维安·索布切克(Vivian Sobchack)和珍妮弗·巴克(Jennifer Barker)的“电影身体”和“观影身体”概念启发,本文用现象学的方法来探究费穆《小城之春》的审美观。1948年,费穆有意颠覆20世纪三四十年代以来社会批判派电影中采用口号来提出解决社会问题方案的拍法。对于《小城之春》中“空气”的营造成为这一颠覆性实验的关键。本文通过对“发乎情,止乎礼”以及苏轼《蝶恋花·春景》的重新解读,试图对《小城之春》中既“发”又“止”,既压抑又诱惑的“空气”进行阐释,细究其如何突破当时口号式拍法的局限。Drawing from the concepts of"film's body"and"cinesthetic body"proposed by Vivian Sobchack and Jennifer Barker,the current essay contends that a phenomenological approach to Spring in a Small Town(Xiaocheng Zhi Chun,1948)opens u new grounds to apprchend the tactility behind Fei Mu's aesthetic subversion of the slogan-solution filmmaking paradigm in the 1930s and the 1940s.In examining Fei Mu's idea of"kongqi"(Air)as the key notion to enable a phenomenological approach,this essay investigates Fei's experiment of Air in Spring in a Small Toun,which was inspired by the Confucian doctrine"released from the afections and stopped within the bounds of propriety"(fa hu qing,zhi hu li)and Su Shi's song lyric"A Spring Scene"(Chunjing).The current essay demonstrates that this seemingly restrictive doctrine was in fact repurposed to communicate an air that alternately suppresses and seduces.

关 键 词：电影身体 观影身体 《小城之春》 费穆 现象学 

分 类 号：J905[艺术—电影电视艺术]