摘要
从视觉经验与空间意识考察,传统艺术与现代电影具有相通性。“经营位置”即对应于电影的“蒙太奇”。早期中国电影依赖于传统物具、家居、建筑,所产生的是零散、破碎的视觉经验,且在社会现代化发展中已然衰退。当下中国电影在世界范围内重塑自身的文化身份与美学风格,需要从传统艺术中借鉴独具特色的空间意识。首先,提高自然风景在现代语境中的分量,重建人与自然平等而亲切的关系;其次,运用中国传统艺术的“以大观小”“以小观大”及“三远”法,缝合人、自然、叙述者三种视点,有效建立主观化的审美空间;再次,重视传统艺术“空间中介”的分景、借景功能,促使空间内外交流,最终在审美想象中创构气韵生动的整体空间。
From the perspective of visual experience and spatial consciousness,Chinese traditional art and modern film are intrinsically similar.The“operating position”is the equivalent of the“montage”of the movie.Early Chinese films rely on traditional objects,homes and buildings,producing only scattered and broken visual experience,which has declined in the development of social modernization.Therefore,the reconstruction of Chinese films’cultural identity and aesthetic style in the world at present requires the use of unique spatial consciousness from traditional arts.First of all,to improve the weight of natural scenery in modern life,to rebuild the equal and intimate relationship between man and nature;secondly,to use the front and back lens suture by the traditional Chinese art of“big view small”,“small view big”and“three far”method,effectively establishing the aesthetic space of human and nature;thirdly,to pay attention to“spatial intermediary”of traditional art to play the function of borrowing and dividing scene,promoting internal and external communication,and finally creating a vivid overall space in aesthetic imagination.
出处
《学术研究》
CSSCI
北大核心
2022年第11期173-180,198,共9页
Academic Research
基金
国家社科基金重大项目“中国电影文化竞争力与海外动态数据库建设”(19ZDA271)的阶段性成果。
