主体性、问题导向与建构电影学术体系  

Subjectivity, Problem-Orientation, and the Construction of the Film Academic System

作　　者：陈林侠[1] Chen Linxia

机构地区：[1]中山大学中文系

出　　处：《电影艺术》2025年第2期12-19,共8页Film Art

基　　金：国家社科基金重大项目“中国电影文化竞争力与海外市场动态数据库建设”(批准号:19ZDA271)阶段性成果。

摘　　要：当下建构中国电影学术体系,就是实现从现代性到主体性的转向,关键在于发挥中国思维中“天人合一”的整体性、“执两用中”的兼容性的优势,立足历史与当下,甄别真假学术问题,以问题为导向,提炼出一系列合逻辑、相关联的学术命题,并“以我为主”地参与世界电影学术的热点议题。归根到底,建构中国电影学术体系需要基础理论命题,以电影本体观念实现上下贯通、东西拓展。在此过程中,最需要的是理论自信。Currently, constructing the Chinese film academic system means achieving a shift from modernity to subjectivity. The key lies in giving full play to the advantages of Chinese thinking, such as the integrity of “harmony between man and nature” and the compatibility of “holding the two ends and taking the middle”. Based on history and the present of Chinese film, we should distinguish true and false academic issues, adopt a problem—oriented approach to extract a series of logical and related academic propositions, and participate in the hot topics of the world film academia in a “self-centered” manner.Ultimately, the construction of the Chinese film academic system requires basic theoretical propositions to achieve vertical coherence with the concept of film ontology. During this process, theoretical confidence is of utmost importance.

关 键 词：中国电影 主体性 学术体系 理论自信 

分 类 号：J90[艺术—电影电视艺术]