现代性视域下的达达先锋电影研究——以曼·雷《回归理性》为例  

A Study of Dada Avant-Garde Cinema in the Context of Modernity:Man Ray’s Return to Reason as an Example

作　　者：杨立群 杨振宇[1] YANG Li-qun;YANG Zhen-yu(School of Art and Humanities,China Academy of Art,Hangzhou,Zhejiang 310024)

机构地区：[1]中国美术学院艺术人文学院,浙江杭州310024

出　　处：《艺术百家》2024年第4期69-76,共8页Hundred Schools In Arts

摘　　要：20世纪初,随着资本主义生产关系不断成熟,科学理性在祛魅过程中逐渐成为新的神话,人们陷入意义空虚、整体性破碎的现代性困境。达达主义正诞生于此时,艺术家用反艺术的行动强烈批判理性与传统。充斥着大批劣质改编故事片的电影领域成为他们的新战场。曼·雷的《回归理性》是达达晚会展示的首批影片之一,也是20世纪先锋电影的代表作之一,虽然未曾得到足够关注,但其重要意义值得深入挖掘。从历史的角度来看,《回归理性》连同其展示舞台可以作为克拉考尔概念中的“物质现实的表面现象”,是分析时代困境、发现“总体意义”的材料;从个体的角度来看,曼·雷以“物影照相法”这一“物质性”表现方式制作电影,是对已然破碎的物质现实进行再认识的过程,是复原物质现实、打破科学理性神话的艺术实践。In the early 20th century,as capitalist production relations matured,scientific rationality gradually became a new myth in the process of disenchantment,leading people into the modern predicament of emptiness of meaning and fragmentation of wholeness.Dada artists,born at this time,strongly criticized reason and tradition through their anti-art actions.The film industry,filled with a large number of poorly adapted story films,became their new battlefield.Man Ray's Return to Reason was among the first films shown at Dada soirées and is one of the representative works of 20th-century avant-garde cinema.Although it has not received sufficient attention,its significant meaning is worth exploring in depth.From a historical perspective,Return to Reason,along with its exhibition stage,can be viewed as a “surface phenomenon of material reality” in Kracauer's sense,serving as material for analyzing the dilemmas of the era and discovering “total meaning”.From an individual perspective,Man Ray's creation of the film using the “rayograph”technique,a “material” method of expression,represents a process of re-cognizing the already fragmented material reality.It is an artistic practice aimed at restoring material reality and breaking the myth of scientific rationality.

关 键 词：曼·雷 达达 偶然性 物影照相法 

分 类 号：J905[艺术—电影电视艺术]