画面交汇生命力的表现——早期电影蒙太奇与现代建筑空间设计的互通发展  

The Dynamic Fusion of the Confluence of Pictures:The Interactive Development of Early Film Montage and Modern Architectural Space Design

作　　者：韩林飞[1] 朱千鹤 HAN Linfei;ZHU Qianhe

机构地区：[1]北京交通大学建筑与艺术学院

出　　处：《建筑师》2025年第1期111-118,共8页The Architect

基　　金：中央高校基本科研业务费专项资金资助(2022JBW1000)。

摘　　要：20世纪初,苏联电影导演爱森斯坦等电影艺术家们首先将建筑领域的“蒙太奇”概念运用到电影中,让电影成为更加生动而富有时空速度内涵的现代艺术表现方式。同时,现代建筑也在时空结构、空间的运动性以及空间的抽象特质等方面进行积极探索,电影的空间感知与表现方法在一定程度上与现代建筑大师的现代设计不谋而合。本文以20世纪20年代苏联建筑师布洛夫、电影导演爱森斯坦、建筑大师勒·柯布西耶的交往为出发点,探讨了电影蒙太奇理论中的画面流动思想与勒·柯布西耶的建筑空间创作方法在思想上的一致性。蒙太奇理论成为电影与建筑理论融合共生的媒介,电影导演和艺术理论家对空间的诠释启发着现代建筑师的思考。At the beginning of the 20^(th) century,Soviet film director Eisenstein and other film artists first applied the concept of“montage”from architecture to film,enriching the medium with a dynamic representation of time and space,thus imbuing modern art with a new expressive dimension.At the same time,modern architecture also actively explores spatial and temporal structures,the movement of space,and the abstract characteristics of space.The spatial perception and expression methods of film coincide with the modern design of contemporary architects to a certain extent.Based on the interaction between the Soviet architect Bulov,the film director Eisenstein,and the architect Le Corbusier in the 1920s,this paper discusses the ideological consistency between the idea of picture flow in the film montage theory and Le Corbusier’s method of creating architectural space.Montage theory has become the medium for the fusion and symbiosis of film and architectural theory.The interpretation of space by film directors and art theorists has inspired the thinking of modern architects.

关 键 词：爱森斯坦 勒·柯布西耶 画面组合 流动空间 蒙太奇 现代性 

分 类 号：TU-05[建筑科学—建筑理论]