本文選題：西方美學(xué) + 電影理論�。� 參考：《武漢理工大學(xué)》2015年碩士論文

【摘要】：傳統(tǒng)美學(xué)為電影理論提供了審美判斷的標(biāo)準(zhǔn),對(duì)西方經(jīng)典電影理論中的“電影之美”的辨識(shí)需要以傳統(tǒng)美學(xué)為基礎(chǔ)。本文通過分析康德對(duì)審美非功利性的系統(tǒng)闡述、叔本華對(duì)審美活動(dòng)所具有的現(xiàn)實(shí)否定功能的肯定、克羅齊對(duì)審美活動(dòng)中感性直覺的強(qiáng)調(diào)以及克萊夫·貝爾對(duì)藝術(shù)純粹形式的要求,得出審美活動(dòng)作為與其它活動(dòng)相區(qū)別的獨(dú)立存在,在審美活動(dòng)中具有非功利性這一特點(diǎn)。通過分析黑格爾對(duì)自我確證的系統(tǒng)闡述、叔本華對(duì)普遍自我本質(zhì)的認(rèn)識(shí)以及尼采對(duì)審美活動(dòng)中生命力的感知,得出審美活動(dòng)還應(yīng)實(shí)現(xiàn)審美主體的自我確證這一審美體驗(yàn)。審美的非功利性和自我確證性以及其分別導(dǎo)致的距離感和親切感,作為基本的審美特性和對(duì)“電影之美”中“美”的判斷基礎(chǔ),在西方經(jīng)典電影理論中得到了繼承。本文著眼于明確地表述了電影特性的電影理論,即:經(jīng)典好萊塢連貫敘事理論、愛森斯坦的蒙太奇電影理論以及巴贊的“現(xiàn)實(shí)主義”電影理論,這三者體現(xiàn)出經(jīng)典電影理論時(shí)期的三種主要傾向。通過對(duì)這三種電影理論的形式特性以及形式目的的分析,確定三者對(duì)審美的非功利性和自我確證性以及其分別導(dǎo)致的距離感和親切感在不同程度上的繼承。經(jīng)典好萊塢連貫敘事理論在其形式中強(qiáng)調(diào)出審美的親切感,而在其內(nèi)在目的中則注重營(yíng)造與現(xiàn)實(shí)生活的距離感。愛森斯坦的蒙太奇電影理論在形式上強(qiáng)調(diào)與實(shí)際經(jīng)驗(yàn)的距離感,而在其內(nèi)在目的中則體現(xiàn)出基于階級(jí)意識(shí)的自我確證。巴贊的“現(xiàn)實(shí)主義”電影理論體現(xiàn)出距離感與自我確證在“完整現(xiàn)實(shí)”建構(gòu)中的辯證統(tǒng)一。在分析了三種電影理論對(duì)傳統(tǒng)美學(xué)的繼承后,總結(jié)出這三種電影理論中分別體現(xiàn)出的“電影之美”,即:“電影之美”在于營(yíng)造一個(gè)完整的虛構(gòu)世界;“電影之美”在于形式手段與理念的統(tǒng)一;“電影之美”在于“客觀現(xiàn)實(shí)”的完整再現(xiàn),并對(duì)其間關(guān)系以及在實(shí)際欣賞中的體現(xiàn)進(jìn)行了簡(jiǎn)要的論述。
[Abstract]:The traditional aesthetics provides the aesthetic judgment standard for the film theory, and the identification of the "film beauty" in the western classic film theory needs to be based on the traditional aesthetics. By analyzing Kant's systematic exposition of aesthetic non-utilitarianism, Schopenhauer's affirmation of the realistic negative function of aesthetic activity, Croce's emphasis on perceptual intuition in aesthetic activities and Clive Bell's demand for pure form of art show that aesthetic activities, as an independent existence distinct from other activities, have the characteristics of non-utilitarianism in aesthetic activities. By analyzing Hegel's systematic explanation of self-corroboration, Schopenhauer's understanding of universal self-nature and Nietzsche's perception of vitality in aesthetic activities, it is concluded that aesthetic activity should also realize the aesthetic experience of self-corroboration of aesthetic subject. The non-utilitarian and self-corroboration of aesthetics, as well as the sense of distance and affinity caused by them, as the basic aesthetic characteristics and the basis of judging "beauty" in "the Beauty of the Film", have been inherited from the western classical film theory. This paper focuses on the film theory which clearly describes the characteristics of the film, that is, classic Hollywood coherent narrative theory, Eisenstein's montage film theory and Bazan's "realistic" film theory. These three reflect the three main tendencies in the period of classical film theory. Through the analysis of the formal characteristics and the formal purpose of the three film theories, it is determined that the three theories inherit the non-utilitarian and self-corroboration of aesthetics and the distance and affinity caused by them in different degrees. The classical Hollywood coherent narrative theory emphasizes aesthetic affinity in its form, while in its internal purpose it pays attention to creating a sense of distance from real life. Eisenstein's montage film theory emphasizes the sense of distance from practical experience in form, but reflects the self-confirmation based on class consciousness in its internal purpose. Bazan's "realism" film theory embodies the dialectical unity of distance and self-confirmation in the construction of "complete reality". After analyzing the inheritance of the three film theories to the traditional aesthetics, the author summarizes the "beauty of the film" embodied in the three kinds of film theories, that is, "the beauty of the film" lies in creating a complete fictional world; "Beauty of film" lies in the unity of form means and idea, and "beauty of film" lies in the complete reproduction of "objective reality", and briefly discusses the relationship between it and its embodiment in actual appreciation.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J901

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本文編號(hào)：1935455