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引用次数: 0
摘要
摘要在过去的二十年里,电影学术界对巴津的理论重新产生了兴趣。这位法国影评人最常被引用的是现实主义的本体论基础,这促使人们对他最著名的文章《摄影图像的本体论》进行了各种各样的解读,有时甚至出乎意料。当然,他选择这一本体论研究作为Qu’est-ce que le cinéma的开篇并非偶然?然而,正如我将要争辩的那样,巴津所归类的“真正的现实主义”与美学有关,并包含了电影中存在的不同元素:(1)图像的本体论;(2) 电影语言风格;(3)真实性层面(审美真实或“深层意义”)。本文的目的是提供这三个层次的现实主义的定义。将特别关注第三个也是三个层次中探索最少的一个,即真理论,由于这一层次迄今为止很少受到学术关注,它构成了本文对巴兹尼理论研究最具原创性的贡献。
There is no such thing as one realism: systematising André Bazin’s film theory
ABSTRACT Over the past two decades, film scholarship has experienced a renewed interest in the theory of André Bazin. This French film critic is most commonly quoted regarding the ontological basis of realism, prompting some highly varied – and sometimes unexpected – readings of his most renowned essay, ‘The Ontology of the Photographic Image’. Of course, it is no mere accident that he chose this ontological study as the opening text for Qu’est-ce que le cinéma? However, as I will argue, what Bazin classified as ‘true realism’ relates to aesthetics and encompasses different elements present in film: (1) the ontology of the image; (2) the style of film language; and (3) the veritative level (aesthetic truth or ‘deep meaning’). The aim of this paper is to provide a definition of these three levels of realism. Special attention will be given to the third and least explored of the three, the veritative, which, as this level has hitherto received little scholarly attention, constitutes the most original contribution of this article to studies of Bazinian theory.