铸鼎象物:晚清“西儒会融”与中国早期电影观念的生成  

Late Qing Dynasty and the Formation of Early Chinese Film Concepts

作　　者：李九如 Li Jiuru

机构地区：[1]北京电影学院电影学系

出　　处：《电影艺术》2024年第4期27-35,共9页Film Art

基　　金：“北京市属高等学校优秀青年人才培育计划项目”(项目编号:BPHR202203200)阶段性成果。

摘　　要：中国传统的儒家思想有其物质媒介维度。从铸鼎象物的传说,到礼乐制度对艺术媒介的强调,经由宋明理学、心学影响下的物质面向,再到晚清因西方冲击而突出的器物/技术式“唯物主义”,构成了一个绵延的媒介思想谱系,它同时勾连着儒家的情动政治追求。在儒家媒介思想下,晚清文化精英接触了光学媒介机器后,形成了以视觉政体、统觉媒介和情动政治为核心理念的(类)电影媒介观念,它从属于儒家的根本关注:个人主体性的达成和共同体的建构。Traditional Confucianism has its material media dimension.From the legend of Dayu to the emphasis on artistic media in the system of rites and music,through the material aspects under the influence of Neo-Confucianism and the School of Mind in the Song and Ming Dynasties,to the artifact/technical materialism"that emerged in the late Qing Dynasty due to the impact of the West,it constitutes a continuous spectrum of media thought,which is also linked to the Confucian pursuit of affect politics.Under the Confucian media thought,after the cultural elites of the late Qing Dynasty came into contact with optical machines,they formed a(quasi)film media concept with scopic regime,apperception media and affect politics as the core concepts,which is subordinate to the fundamental concern of Confucianism:the achievement of individual subjectivity and the construction of community.

关 键 词：儒家思想 西学 媒介 电影观念 

分 类 号：J905[艺术—电影电视艺术] K252[历史地理—历史学] B222[历史地理—中国史]