摘要
20世纪80年代中期,钟大丰和陈犀禾提出了"影戏"理论,成为中国电影学术界极具争论性的理论话题。借助于"概念置换""移花接木"和"历史缝合"策略,他们完成了"影戏"理论的"论证"工作,建构了一座"中国化"电影理论体系的空中楼阁。尽管"影戏"作为电影理论体系无法成立,但作为中国早期电影观念却是客观存在的。"影戏"电影观念的形成有其复杂的历史原因,它是文以载道的文艺观、艺术的进化论和固守传统的思维共同作用的结果。具有反讽和戏剧性的是,他们建构"影戏"理论是为了反"影戏",而后来他们又回归到对"影戏"传统的坚守:钟大丰回归到对电影"戏剧性"传统的坚守,而陈犀禾回归到对电影"社会功能"本体论传统的坚守。
In the mid-1980s, Zhong Dafeng and Chen Xihe proposed the "shadow drama" theory which became a very controversial theoretical topic in the Chinese film academic community. With the help of "concept replacement","shifting flowers" and "history suturing" strategies, they completed the "argumentation" work of the "shadow" theory and constructed an air-castle building in the "Chinese-style" film theory system. Although the "shadow drama" cannot be established as a film theory system, it did exist as an early Chinese film concept. The formation of the "shadow" movie concept has complicated historical reasons. It is the result of the combination of the literary view of "Writings are for conveying truth", the theory of evolution of art and the thought of adhering to tradition. Ironically and dramatically, they constructed the "shadow drama" theory to counter "shadow drama" and later returned to the tradition of "shadow drama":Zhong Dafeng returned to the "dramatic" tradition, while Chen Xihe returned to the ontological tradition of "social function".
作者
孙英莉
SUN Yingli(School of Journalism and Communication,Huanggang Normal University,Huanggang 438000,China)
出处
《重庆邮电大学学报（社会科学版）》
2019年第1期138-145,共8页
Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)
基金
国家社会科学基金项目:比较视域下的日本二战电影及其接受研究(16XZW023)
关键词
影戏理论
建构策略
概念置换
移花接木
历史缝合
shadow drama theory
construction strategy
concept replacement
graft and transplant
historical stitching
