摘要
影像奇观美学是近期中国电影中出现的一种以奇异影像系统去创造意义或增强表意控制力的美学原则。这种奇异影像本身不再只充当影片中的次要表意元素,而是成为其中具备独立表意能力乃至表意控制力的首要元素之一。它不仅独立创造意义,并且产生具备表意控制力的意义,从而体现文化控制力。但它也存在一些症候:奇观化镜头与表意系统之间有时存在某种美学脱节,在倾力打造视觉奇观时导致人物形象刻画弱化,影像奇观系统中存在相应的人生信仰系统的缺失,处于现实混沌中的人生拯救方略无限期推迟出场。影像奇观美学形式本身无所谓对错,而关键在于让它服务于传达真正富有深度的思想、情感或人生真理。当前中国电影与其说缺少影像奇观美学形式的建构才情,不如说缺少让这种美学形式服务于特定人生真理的深切领悟和清澈透视的主体素养。
The aesthetics of image spectacle is an aesthetic principle that uses a system of image spectacle in order to create meanings or enhance the control of significationin recent Chinese films. The image spectacle is no longer a minor signifying element in films, but instead, becomesone of the primary elements with an independent signifying ability and the control of signification. Not only does it create meanings independently , but also generates the meaning with a control of signification, and thus, it shows the cultural control. Whereas it does have some symptoms at the same time : some kind of aesthetic lag does exist between spectacle scenes and the system of signification. The devotion to visual spectacle may lead to the weakening of characterization. A corresponding system of life belief is absent from thesystem of image spectacle , and as a result, saving life strategy in the chaos of reality defers its appearance indefinitely. For the aesthetics of image spectacle, there is no right or wrong in itself. Yet, the key is to make it serve to convey a truly profound thought, emotion or truth of life. At present, rather than lacking the subjective qualities that make this aesthetic form serve the specific truth of life, it is better to say that Chinese films lack the talent of constructing the aesthetic form of image spectacle.
作者
王一川
WANG Yi-chuan(School of Arts , Peking University, Beijing 100871)
出处
《艺术百家》
CSSCI
北大核心
2019年第1期108-112,共5页
Hundred Schools In Arts
基金
2018年度国家社科基金艺术学重大项目"文艺发展史与文艺高峰研究"(项目编号:18ZD02)阶段性成果之一
关键词
影像奇观美学
文化控制
人生真理
心赏
Aesthetics of Image Spectacle
Cultural Control
Truth of Life
Soul Appreciation
