本文選題：現(xiàn)成品 + 拾得物�。� 參考：《文藝研究》2017年08期

【摘要】：徐冰最近創(chuàng)作的《蜻蜓之眼》是一部奇特的電影。它不僅挑戰(zhàn)對于電影的習(xí)慣看法,而且挑戰(zhàn)對于藝術(shù)和真實的一般理解。與傳統(tǒng)藝術(shù)側(cè)重模仿和再現(xiàn)不同,當(dāng)代藝術(shù)直面真實,現(xiàn)成品藝術(shù)就是直接采用生活中的拾得物的藝術(shù)。鑒于《蜻蜓之眼》采用的鏡頭都是拾得的,也可以說它是一部現(xiàn)成品電影。由于采用的鏡頭全部來自監(jiān)控錄像,它不可避免會與真實發(fā)生關(guān)系,從而不同于從公映影視作品中選取鏡頭的現(xiàn)成品電影。但是,徐冰并沒有留戀內(nèi)容的真實性,而是反其道而行之,將真實的鏡頭剪輯成虛構(gòu)的故事,從而與紀(jì)錄片拉開了距離。在觀看《蜻蜓之眼》時,觀眾會體驗到真實與虛構(gòu)之間的張力,在半夢半醒之間思考生活世界的構(gòu)成。
[Abstract]:Xu Bing's most recent film, the Eye of the Dragonfly, is a strange film. It challenges not only the conventional view of film, but also the general understanding of art and truth. Different from the traditional art, the contemporary art faces the reality directly, the present finished art is the art that uses the life to pick up the material directly. Since the dragonfly's eye is picked up, it is a finished film. Since all the cameras used come from the surveillance video, it will inevitably have a relationship with the reality, which is different from the existing finished film which selects the lens from the film and television works. However, Xu Bing did not cling to the truth of the content, but did the opposite, cutting the real scenes into fictional stories, thus distancing himself from the documentary. When watching the Eye of the Dragonfly, the audience will experience the tension between reality and fiction, and reflect on the composition of the world of life between half sleep and half waking.
【作者單位】： 北京大學(xué)藝術(shù)學(xué)院、美學(xué)與美育研究中心;
【分類號】：J905

【相似文獻(xiàn)】

相關(guān)重要報紙文章 前1條

1 劉書亮;現(xiàn)成品與重構(gòu)[N];文藝報;2014年

，

本文編號：1869220