【摘要】：近年來,中國電影出現(xiàn)國畫形式復(fù)興以及相關(guān)理論嚴(yán)重匱乏的局面。面對此一問題,如何以藝術(shù)史為方法論,將電影置于中國視覺經(jīng)驗傳統(tǒng)中,考察它與中國畫的媒介關(guān)聯(lián),是需要重新思考的重大課題。西方藝術(shù)史的媒介考古學(xué)理路,對于找出電影與西方繪畫在儀器觀看傳統(tǒng)上的媒介親緣性,具有學(xué)術(shù)史的方法論意義。就中國畫而言,無幾何比例和去光影性兩方面,都表明中國畫的非透視法具有反儀器的觀看傳統(tǒng)。由此出發(fā),通過中國繪畫中的"游觀"傳統(tǒng)與"鏡游"理論,從手卷和立軸兩種媒材形制出發(fā),或許是探討電影與中國畫在時間性、空間布局、目光移動上的可繼承性的有效路徑。
[Abstract]:In recent years, there is a revival of Chinese painting form and a serious lack of relevant theories. Facing this problem, how to put the film in the tradition of Chinese visual experience with the methodology of art history and examine its connection with the media of Chinese painting is an important subject that needs to be reconsidered. The media archaeology of western art history has the methodological significance of academic history to find out the relationship between film and western painting in the traditional instrumentation viewing media. As far as Chinese painting is concerned, the non-perspective method of Chinese painting has the tradition of anti-instrument viewing. From this point of view, through the "tour view" tradition and the "mirror tour" theory in Chinese painting, starting from the shape of hand roll and vertical axis, it may be to discuss the temporal and spatial distribution of film and Chinese painting. The effective path of inheritance on eye movement.
【作者單位】： 華東師范大學(xué)傳播學(xué)院;
【基金】：上海浦江人才計劃資助項目“新世紀(jì)華語電影對中國視覺傳統(tǒng)的繼承與發(fā)展”(批準(zhǔn)號:16PJC027)成果
【分類號】：J905

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