实验电影概念的双重定界

The Double Delimitation of Concepts of Experimental Cinema

影像技术、形式探索和放映情境的实验自电影诞生起就广泛存在,如何将实验电影从中划分出来是实验电影研究的关键前提。实验电影的定义和划分有两种历史形成的分类方式:其一基于实验电影的替代性体制,对参与其中的电影人、艺术作品和实践模式的特征和属性进行后见之明的归纳和总结;其二基于某种主观的、艺术价值的判断,其准则很大程度上与提出者的个人旨趣相关。这两种定义方式之间的差异性张力,构成了实验电影发展史中的核心矛盾和动力。

Experimentation in image technology, formal exploration and projection context has been pervasive since the advent of cinema, and how to differentiate experimental cinema from it is a critical premise of experimental cinema studies. There are two typical categorizations of experimental cinema: one is based on the alternative institution of experimental cinema, which summarizes the characteristics and attributes of the filmmakers, artworks and practice models involved in it with the benefit of hindsight;the second definition is based on a subjective judgment of artistic value, whose criteria are largely related to the personal interests of the proposer. The differential tension between these two definitions constitutes the core contradiction and driving force in the history of experimental cinema.