让·米特里的蒙太奇理论

On Jean Mitry's Montage Theory

让·米特里的蒙太奇理论是以现象学的理论作为基础,以修辞学作为逻辑轴心,以表意结构作为核心观点,在批判爱森斯坦的理性蒙太奇和巴赞的长镜头理论上建立起来的。米特里紧紧围绕真实性,形成了自己具有"蒙太奇效应"的蒙太奇理论,他认为电影影像具有双重本性,它既是再现,又是被再现的现实。他借鉴了爱森斯坦关于电影形式和节奏的思想,肯定了巴赞的现实影像是电影的必要基础,以此调和了蒙太奇和长镜头的矛盾。

Mitry＇ s montage theory takes phenomenological theory as the foundation, rhetoric as its axis of logic, the ideographie structure as the core idea, which was established by criticizing Eisenstein＇ s rational montage and Bazin＇ s long-lens theory. Mitry reconciled montage and long-lens theories and formed his own ＂montage effect＂ theory of montage with close authenticity. He thought the film image had a dual nature that was representation and representation of reality. He drew on Eisenstein＇ s ideas about the film form and rhythm, affirmed that Bazin＇ s realistic image was the necessary foundation of movies and took them as starting point to reconcile the contradictions of montage and long-lens.