摘要
巴赞和克拉考尔的电影理论,从根本上说,是强调纪实美学的电影现实主义。在巴赞和克拉考尔看来,电影的艺术特性就是纪实。他们对以蒙太奇为代表的传统电影理论的反思与批判和对电影审美特性的重新思考,深入地开掘了电影的艺术表现力,创造和发展了电影的艺术语言,极大地丰富了电影理论与美学,并对此后的世界电影理论与实践产生了深远的影响。
A. Bazin and S. Kracauer's film theory is essentially that of film realism which cen-
ters on the realistic aesthetics. In their view, the artistic characteristic of film lies in the noumenon
of film, i. e. the on-the-spot record. The reflective criticism they have made on the traditional film
theories embodied in Montage and their reconsideration of the aesthetic identity of film help to tap
the potential artistic expressiveness of the film, to create and promote the artistic languages of the
film, and to greatly enrich the film theory and aesthetics, thus exerting profound influence on the
theories and practices of the world film theleafter.
出处
《南京大学学报（哲学．人文科学．社会科学）》
CSSCI
北大核心
2004年第5期125-131,共7页
Journal of Nanjing University(Philosophy,Humanities and Social Sciences)
关键词
电影纪实
纪录与揭示
镜头段落—景深镜头
现象学现实主义
realistic film
on-the-spot record and revelation
sequence-plan-depth of field
phenomenological realism
