作者论批评在美国——安德鲁·萨里斯与宝琳·凯尔的“圆与方”之争

Auteur Criticism in the United States: The Debate between Andrew Sarris and Pauline Kyle on “Circles and Squares”

20世纪50年代末至60年代初,以电影为代表的大众文化逐渐成为文艺批评和学术研究的焦点。为提升好莱坞电影(以及电影批评在艺术批评中)的地位,安德鲁·萨里斯对法国作者论进行了策略性的引介与改造,提出了"三个同心圆"的作者论批评标准。安德鲁·萨里斯的作者论批评方法遭到了以宝琳·凯尔为代表的影评家们的反驳,他们围绕影评的本质、电影批评的方法、影评人的职责等问题展开了激烈论战。宝琳·凯尔捍卫其精英式的批评立场,对安德鲁·萨里斯的观点逐一驳斥。安德鲁·萨里斯则通过批评实践回应了美国影评界对他的质疑。电影批评理论的"圆与方"之争影响了随后出现的新好莱坞创作,为新好莱坞电影文本(以及参照作者论重新加以审视的古典好莱坞作品)的批评作了观念、理论和方法上的准备。

From the late 1950 s to the early 1960 s,mass culture( especially movies) gradually became the focus of art criticism and academic research. In order to enhance the status of Hollywood films( and film criticism in art criticism),Andrew Sarris made a strategic introduction and transformation of the French auteur theory,and proposed"three concentric circles"standards of auteurism. The auteur criticism method of Sarris was refuted by film critics represented by Pauline Kael. They had an intense debate on the nature of film criticism,the methods of film criticism,and the responsibilities of film critics. Pauline Kael defended her elite criticism and refuted Sarris’ s views one by one. Sarris responded to criticism from the American film critics through his criticism and practice. The"Circles and Squares"debate of film criticism theory influenced the subsequent emergence of new Hollywood cinema,making conceptual,theoretical and methodological preparations for the criticism of new Hollywood films text( and classical Hollywood works re-examined by auteur theory).