“电影美学”:一个新时期以来电影学研究关键词的概念史考察  

“Film Aesthetics”:A Conceptual-historical Investigation of the Keyword in Film Studies since the New Era

作　　者：符晓 王垚 Fu Xiao;Wang Yao

机构地区：[1]不详

出　　处：《中国美学研究》2024年第2期150-164,共15页

摘　　要：“电影美学”长期在中文电影学研究中被看作一个源自美学且不言自明的概念。从概念史的角度来看,中文学界的“电影美学”概念于20世纪50年代中后期登场,在20世纪80年代之后发扬光大,进而成为中文电影学研究的核心内容,在新世纪之后更是被诸多学者进一步阐发和拓展,并延展出诸多相关的理论框架。在概念演进的过程中,“电影美学”被赋予了多重意义,由此也产生了关于能指和所指的“名”“实”之辩。“电影美学”成为电影学研究的关键词,与20世纪80年代电影学学科化过程,以及电影理论界和创作界的密切互动关系直接相关。作为一种有效的命名策略,“电影美学”也提示着中国电影创作和研究中的多重焦虑。“Film aesthetics”has long been regarded as a self-evident concept derived from aesthetics in Chinese film studies.From the perspective of conceptual history,the concept of“film aesthetics”in Chinese literature appeared in the midto-late 1950s,widely accepted after the 1980s,and became the core of Chinese film studies.After the new century,“film aesthetics”has been further explained and amplified by many scholars,and extended many relevant theoretic frameworks.In the process of conceptual evolution,“film aesthetics”has been given multiple meanings,which has also given rise to the debate on the“name”and“reality”of signifier and the signified.The fact that“film aesthetics”has become the keyword of film studies is directly related to the process of disciplining film studies in the 1980s,as well as the close interaction between the film theory and creative industry.As an effective naming strategy,“film aesthetics”also suggests multiple anxieties in Chinese film creation and research.

关 键 词：电影美学 概念史 电影理论 电影本体论 电影学学科化 

分 类 号：J901[艺术—电影电视艺术]