论中国电影美学的特点与建构

The Characteristics of the Chinese Film Aesthetics and Its Construction

中国电影美学的建设于20世纪80年代初正式起步,并开始逐步拓展。虽然西方电影美学和中国电影美学在很多方面有相同之处,但由于文化背景和美学传统的差异,其不同之处也很明显。因此,中国电影美学的建构不应是西方电影美学的简单移植,而应在学习借鉴之基础上,有机地融入中国文化的元素和中国电影理论的传统,使之能更好地凸显出中国本土文化特色。为此,既要深入探讨电影与现实的审美关系问题,不能忽略中国电影理论工作者关于电影创作中的现实主义问题的学术研究成果;又要从理论上认真总结中国电影创作所积累的各种美学经验,并深入探讨其创作规律。同时,还要认真研究中国电影观众的审美心理和审美需求,把握观众观影时的审美心理变化,分析那些能吸引和打动观众的优秀影片在美学上的成功之处,总结出其中的创作规律,并深入研究电影美感如何在观众(审美主体)和影片(审美客体)的融合统一中产生。随着接受美学的引入,观众的先在结构、期待视野及观众反应批评对电影创作的影响,也都构成了研究的内容。另外,中国电影美学的理论建构一方面需要从域外引进各种基础理论,但另一方面也应该立足于中国文化的基础之上,注重从中国文学艺术的美学传统中汲取营养,充分重视已有的理论成果和学术积累,从而使中国电影美学与中国文化中的美学精神有机衔接起来,显示出更浓厚的东方色彩和本土化特征。

The construction of the Chinese film aesthetics was initiated in the early 1980s. After that, it began to develop gradually. Due to the different cultural background and aesthetic tradition, the Chinese film aesthetics differs greatly from the Western film aesthetics although there is much similarity between them. Therefore, instead of being simply transplanted, the construction of the Chinese film aesthetics should be, on a basis of learning and borrowing, integrated into the elements of the Chinese culture and the Chinese theoretical tradition so as to give prominence to the characteristics of the Chinese indigenous culture. On the one hand,while the aesthetic relation between film and reality should further be probed into, the Chinese film theorists＇research results on realism in film creation should be attached importance to; on the other hand, both a summary of all kinds of aesthetic experience and a further discussion on its creative rules should be underway. At the same time, a further research should be undergone on the aesthetic psychology and requirement of the Chinese audience, especially on the aesthetic psychological diversification when enjoying films so as to analyze the success of excellent films and make an approach to how the film beauty is produced in the integration of film and audience. And with the introduction to receptive esthetics, either the preexistent structure of audience or their expectant view or the influence of their receptive criticism on film creation, are worthy of studying. In a word, for the construction of the Chinese film aesthetics, it is necessary to introduce all kinds of basic Western theories, but an importance should be attached to drawing nutrition from the aesthetic tradition of the Chinese literature and art so as to integrate the aesthetic spirits of both Chinese film aesthetics and Chinese culture, to manifest richer eastern color and stronger indigenization.