电影工业美学视域下的电影“作者性”  

Film“Authorship”from the Perspective of Film Industry Aesthetics

作　　者：李建强 LI Jianqiang

机构地区：[1]中国电影评论学会 [2]上海交通大学媒体与传播学院,上海200240

出　　处：《上海师范大学学报（哲学社会科学版）》2024年第5期113-119,共7页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

摘　　要：电影工业美学视域下的电影“作者性”是一个多义和递进的命题,不是电影工业美学排斥电影“作者性”,而是电影“作者性”需要在电影工业美学的烛照下注入新的内涵、打造新的品质。恪守传统意义上的“作者论”已无法适应新时代中国电影工业发展的要求,但这并不意味着电影“作者性”就此失去了存在的意义和价值,只是需要破除一些观念的窠臼,灌注一些新的特质,包括“真诚”“超拔”“通变”“聚合”等。工业美学带来的不只是电影生产方式与组织形式的变化,它还会导致电影本体、电影观念的进化和变革。新元素和新特质的后来居上,将为“作者性”的生成、迭代及呈现提供广博的天地和更多的可能性。The“authorship”of film from the perspective of film industry aesthetics is actually a multi-semantic and progres⁃sive proposition.It is not that film industry aesthetics rejects film“authorship”,but rather that film“authorship”needs to be in⁃fused with new connotations and crafted with new qualities under the illumination of film industry aesthetics.Adhering to the tra⁃ditional sense of“authorship”can no longer meet the requirements of the development of China’s film industry in the new era.However,this does not mean that film“authorship”has lost its meaning and value.It simply needs to break free from some con⁃ceptual constraints and infuse new qualities,including“sincerity”,“transcendence”,“adaptability”,and“convergence”.In⁃dustrial aesthetics not only brings about changes in the mode of production and organization of films,but also leads to the evolu⁃tion and transformation of film ontology and film concepts.The emergence of new elements and new characteristics will provide a broad world and more possibilities for the generation,iteration and presentation of“authorship”.

关 键 词：电影工业美学 作者性 新特质 

分 类 号：J901[艺术—电影电视艺术]