从电影之“镜”到电影之“境”:基于意境说的电影哲学“中国化”  

From the Mirror of Cinema to the Jing of Cinema:Chinese Film Philosophy Based on the Concept of Yijing

作　　者：范炜婷 Fan Weiting

机构地区：[1]重庆大学美视电影学院文学系 [2]伦敦大学国王学院

出　　处：《电影艺术》2024年第4期3-10,共8页Film Art

摘　　要：当我们将意境这一传统美学概念移植到电影学界时,不能仅仅将其视为一种美学范式,而应重视它所指涉的中国传统哲学思想,并探究这种哲学内涵与电影哲学对接的可能。其中,“境”这一概念指涉的佛教哲学时常使用“镜子”作为关键隐喻。作为“镜”的感知主体与作为“境”的被感知客体组成另类的镜像结构,指向一种流动的内在关联性。这成为中国哲学介入当下欧美电影哲学,以中国视角重新定义电影作为一种媒介可以如何感知与认识世界的绝佳通路。When we transplant Yijing as a traditional aesthetic concept into the film study,we cannot see it only as a fixed aesthetic form.Instead,we need to pay special attention to its reference to traditional Chinese philosophy and contemplate how it can be introduced into film philosophy.The Buddhist conception of Jing often uses the mirror as a key metaphor.The combination of subject as mirror and object as Jing constitutes an alternative structure of mirrored reflection,which leads to a form of fluid and immanent relationality.This is an excellent way for Chinese philosophy to intervene in contemporary European and American film philosophy,and to redefine how film as a medium can perceive and understand the world froma Chinese perspective.

关 键 词：中国电影理论 意境 电影机器 德勒兹 电影现象学 

分 类 号：J905[艺术—电影电视艺术]