“电影作者论”新论

Fresh Reflections on “the Theory of Film Author”

按照特吕弗的说法,提出"电影作者",就是为了强化导演个性,把导演个人的理念与设想带进影片之中。"电影作者论"随着新浪潮电影运动的兴起与发展而得到扩展。在其后的传播过程中,"电影作者论"成为了一种电影的批评方法或策略;又成为了一种新的电影理论;嗣后更成为了一种电影历史研究的新角度。但将"电影作者"当作导演是电影单一作者的等同概念,同样遭到了理论界的质疑。"电影作者论"自被提出开始,始终是从其与文学作者的相比较中来展开概念和含义阐释的,并没有认识到"作者论"对电影的这种历史性意义,因而带来了一些负面的效果。显然,"电影作者论"的真正含意与意义一直未被发掘出来,甚至出现歧义。"电影作者论"表面上将电影导演视同为文学的作者,其背后揭示的却是对电影性的确认:电影作为一种技术的发明,从娱乐的"玩意儿"到叙事的艺术,从无声到有声,从黑白到彩色,经过近60年的历程,才使发明电影的人类真正认识到电影的本体特性,将电影真正从西方以文字阅读为中心的传统中彻底解放出来,还电影的影像本位意义。

According to Francois Truffaut, the proposal of ＂film author＂ is to strengthen the ＂director per- sonality＂, i.e. bringing director＇s individual ideas and designs into films. The theory of ＂film author＂ ad- vanced with the rise and development of ＂the New Wave＂ film campaign and later on in its transmission grew into a film critic method or strategy, a new film theory and more than that, a new perspective in the historical studies of films. Yet the identification of the ＂film author＂ with the director as the singular author incurs criti- cal reproach. We believe that since the day the ＂film author＂ was put forward, its concept and implication has been interpreted in comparison with literature author. However, the historical significance of ＂film author＂ the- ory to film has been neglected, as the negative effects are evident： the true connotation and significance of the ＂film author＂ theory is yet to be excavated, and even misinterpreted. We argue that a director is ostensibly re- garded as a literature author according to the theory of ＂film author＂, hut between the lines it actually confirms the nature of film： it reveals the ontological property of film and liberates film radically from words-dominated reading tradition, restoring the image-based significance of film which as a technological invention has devel- oped from entertainment ＂device＂ to narrative art, from silent to sound, from black-and-white to colored over nearly 60 years.