“面纱与面纱化”:1979—2000年伊朗电影中的视觉文化与民族语法  

“Veil and Veiling”:Visual Culture and National Grammar in Post-Revolutionary Iranian Cinema(1979-2000)

作　　者：周涌[1] 郭培振 Zhou Yong;Guo Peizhen

机构地区：[1]中国传媒大学戏剧影视学院

出　　处：《电影艺术》2024年第5期153-160,共8页Film Art

摘　　要：伊斯兰革命后,伊朗电影开始了“伊斯兰化”的“净化”过程,面纱成为理解革命后伊朗电影民族主体意识与宗教哲学精神的重要视角。“面纱美学”的理论扩容意味着要超越面纱“标记女性”的单一维度,将视角放置在电影整体的本体与美学层面。通过艺术史学与形式美学的路径分析,可以发现面纱观看的视觉经验与神性本质,以及“面纱化”创作语法的现代性与对抗性:“伊斯兰化”想象世界的现代寓言与西方主流电影视觉逻辑的对抗。After the Islamic Revolution in Iran,cinema has gone through a process of“purification”through“Islamization”,and the veil has become an important perspective for understanding the national subjective consciousness and religious philosophical spirit of post-revolutionary Iranian cinema.The theoretical expansion of the“aesthetics of the veil”means going beyond the single dimension of“veil marks women”and placing the perspective on the ontology and aesthetics of cinema as a whole.By analyzing the paths of art history and formal aesthetics,it is possible to discover the visual experience and divine nature of veiled viewing,as well as the modernity and confrontation of the grammar of“veiled”creation:the modern allegory of the“Islamized”imaginary world and the visual logic of mainstream Western cinema.and the confrontation between the modern allegory of the“Islamicized”imaginary world and the visual logic of mainstream Western cinema.

关 键 词：伊朗电影 面纱 谦逊守则 视觉文化 电影语法 

分 类 号：J905[艺术—电影电视艺术]