艺术创意发展中的集体与个人因素:电影导演的视角

IF 0.3 4区 社会学 0 PHILOSOPHY Filosofija-Sociologija Pub Date : 2021-12-12 DOI:10.6001/fil-soc.v32i4.4624
Anda Laķe, Laura Brutāne, Ketrisa Petkeviča
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引用次数: 1

摘要

本研究关注的问题是,在具体的政治背景下,艺术家个人创意的自由发展与社会对艺术的需求之间是否以及如何实现平衡。本文的理论基础是以创造社会学和社会心理学为基础的研究方法。案例研究的对象是电影导演,他们在“拉脱维亚百年电影”(2016-2018)资助计划中获得了制作和传播电影的资金。电影导演(n16)的经验是通过使用深度访谈和转录分析按照定性方法进行检查。该研究确定了创造力灵感的两个偶然水平——个人和社会或集体水平。作者确定了电影导演创意理念的几种发展模式,其中三种占主导地位:独立的局外人,强调独立于拉脱维亚百年纪念计划的个人,种子事件为基础的创意因素;独立的理想主义者强调个人和集体因素,独立于拉脱维亚百年计划;强调来自拉脱维亚百年纪念计划的集体创造力因素的符合标准的爱国者。在电影导演的采访中所代表的观点都有一个共同的假设,即拉脱维亚百年纪念的呼吁对电影思想产生了积极的影响,使艺术视野得以发展,并使表达他们思想的框架概念化。导演们强调,电影创意并没有刻意的配置,而是根据需求进行正式的调整,从而规避了社会领域看门人的障碍。在许多情况下,这个想法在电影创意电话之前就已经形成了。大多数导演都承认,无论是从国家层面,还是从社会和个人层面来看,百年纪念呼吁的目标对他们来说都很重要。
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Collective and Individual Factors in the Development of Creative Ideas in Art: The Perspective of Film Directors
The study focuses on the question if and how it is possible to balance the freedom of developing artist’s individual creative idea and the societal demand for art defined in a concrete political context. The theoretical basis for the article is formed by research approaches grounded on sociology of creativity and social psychology. The object of the case study is film directors who had obtained funding for the production and dissemination of their films within the funding program ‘Latvian Films for Latvia’s Centenary’ (2016–2018). The experience of film directors (N 16) was examined by using in-depth interviews and transcriptions analysed in accordance with qualitative methodology. The study identified two contingent levels of creativity inspiration – the individual and the societal or collective level. The authors identify several development models of the film directors’ creative ideas, three of which are dominant: the independent outsider who stresses individual, seed-incident based creativity factors independent of the Latvian Centenary program; the independent idealist who stresses both individual and collective factors, independent of the Latvian Centenary program; the conforming patriot who stresses collective creativity factors that stem from the Latvian Centenary program. The view represented in the film directors’ interviews has in common the assumption that the Latvian Centenary call had a positive influence on the film ideas, allowing the development of the artistic vision and conceptualising the framework for the expression of their ideas. The directors emphasise that there was no intentional configuration of the film creative ideas by formally adjusting them to the demand, thus circumventing the barriers of social field’s gatekeepers. In many cases the idea had been developed long before the film idea call. Most directors admitted that the goal of the Centenary call appeared important to them both in terms of the state, and on the social and personal level.
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38
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