面孔和观看:捷克导演杨·史云梅耶和维拉·希蒂洛娃的傀儡身体书写  

Puppet Body Writing by Faces and Watching:Czech Directors Jan Svankmajer and Věra Chytilová

作　　者：李婷[1] Li Ting

机构地区：[1]成都大学影视与动画学院影视艺术系

出　　处：《戏剧与影视评论》2024年第5期80-92,共13页Review of Theatre and Film

基　　金：成都大学中国-东盟艺术学院学科科研重大成果资助项目。

摘　　要：1962年,受存在主义思潮及法国新浪潮的影响,捷克新浪潮电影运动在捷克①特殊的历史年代背景下应运而生。作为捷克新浪潮电影的异类,杨·史云梅耶和维拉·希蒂洛娃将超现实主义、达达主义、波普艺术、行为艺术等先锋艺术创作理念引入影像实践,造就了捷克新浪潮电影中荒诞、光怪陆离的另一面美学形态。本文综合身体美学、艺术史学、电影学等跨学科视野,以面孔、现代性身体语言为研究横切面,对杨·史云梅耶和维拉·希蒂洛娃的身体表达进行分析,讨论两位导演呈现身体的象征意义和独特特征。In 1962,influenced by Western existentialism and the French New Wave,the Czech New Wave film movement emerged in the unique historical context of the Czech Republic.As outliers of Czech New Wave cinema,Jan Svankmajer(1934-)and Věra Chytilová(1929-2014)introduced avant-garde artistic concepts such as surrealism,Dadaism,pop art,and performance art into their visual practices,creating the aesthetics of absurdity in Czech New Wave film.This study integrates interdisciplinary perspectives such as body aesthetics,art history,and film studies,using face and modern body language as key focal points for analyzing the body representations in the works of Jan Svankmajer and Vera Chytilova,which highlights the significance and distinctive features of the body as presented by the two directors.

关 键 词：杨·史云梅耶 维拉·希蒂洛娃 傀儡身体 面孔 破坏行为 

分 类 号：J90[艺术—电影电视艺术]