后“阿凡达”:电影艺术媒介特性的再思考

Post Avatar:Reconsideration the Feature of Film Art Media

长期以来,国内受"欧陆传统"电影理论的影响,电影语言学或电影文化学代替了电影学的研究,理论的滞后和实践的活跃矛盾重重。一方面,巴赞理论只是起到奠基作用,其非系统性和时代局限都有待再阐释;另一方面,创作界推出的轰动全球的科幻电影史诗巨作《阿凡达》对电影媒介特性进行了完美展示,客观上要求理论界对此予以回应。在"英美传统"中的认知理论回归电影本体研究的背景下,分析电影《阿凡达》的空间拓展和形式美学,以期重返巴赞"实在"论研究,继续经典电影理论的追问。同时从创作和接受两重视角建构的电影媒介特殊性出发,探讨电影艺术的本质。

Because we are affected by the Continental tradition film theory, the research of the filmology has been replaced by the film Linguistics or film culture since long. The film itself, film art and film media . ere have been overlooked. In fact, these problems are not resolved truly. The delay of the theory and the flourish of the practice are contradicting. On the one hand, the theory of ＂Andre Bazin＂ only plays the role of foundation, its unsystematic feature and limitations of the times have yet to be explained~ on the other hand, the playing of ＂Avatar＂, the great science fiction movies of the world, which is the perfect display of the feature of the film art media, has requested responses of the circle of theory. So on the background of Anglo- American tradition theory back to the research of the film itself, the paper will analyse the expanding space and aesthetic form of the film-＂Avatar＂, with the aim of being back to research of realism of ＂Andre Bazin＂ pursuing the classic film theory, discussing the nature of the film art by the aspects of creation ＇and acceptance.