“静物”之流与“存在”之思——论贾樟柯电影的现象学美学内蕴

Flow of “Still Life” and Reflection on “Being”:The Phenomenological Aesthetics of JIA Zhang-ke's Film

作为第六代电影的翘楚,贾樟柯电影擅长从对中国当代社会变迁和底层人生存状况的客观纪录出发,通过一种"静观"美学和"直观"思维上升到对存在本质的现象学观照,从而创造出一个异常丰富的"现象世界"。在代表作《三峡好人》等作品中,贾樟柯依靠对"静物"之流的真切凝视以及对"存在"之思的诗意呈现,用现象学现实主义的方式完成了对当代中国物质现实与精神现实的双重审视。

As a leading model of Chinese new generation films, JIA Zhang-ke^s films have made great efforts to create a wonderful ＂phenomenological world＂ through the objective record of the people at the bottom society in contemporary transforming China and a kind of phenomenological reflection on the essence of ＂being＂. In Still Life, JIA Zhang-ke realized the reflection of both material and spiritual reality of modern China through a kind of phenomenological realism.