声像蒙太奇：多重语境中的审美形式及其意义--以电影《城南旧事》《老炮儿》和《路边野餐》的美学分析为例

Audio-visual Montage:Aesthetic Forms and Meanings in Multiple Contexts——Take the Aesthetics Analysis in My Memories of Old Beijing、Mr.Six and Kaili Blue as Examples

"乌托邦"理念来源于西方,也是百年来中国社会及其审美现代性叙事的主要动因。中国式乌托邦的审美表达比之西方,它较少面向未来世界,而大多指向"过去",或可称为"乡愁乌托邦"。从当代美学角度看,《城南旧事》《老炮儿》《路边野餐》这三部电影都通过声像蒙太奇机制发生作用,但是它们营构的"乡愁乌托邦"形式各异,同时三者之间又构成一种对话关系,探求人们在前现代、现代和后现代多重语境交叠的社会现实中的位置。其美学意义在于,三者分别代表了中国现代化进程中反抗命运的不同方式,有效地改变了现实中人们的情感结构,是悲剧人文主义的一种当代形式。

Though the concept of "Utopia" came from western countries, it has been a factor promoting development of Chinese society and the narration of aesthetic modernity for centuries; Compared with western utopia, the aesthetic expression of Chinese utopia is seldom oriented to the future of the world, but often to the past, so it can be called "Nostalgia Utopia". This paper pointed out that My Memories of Old Beijing、Mr.Six and Kaili Blues construct "nostalgia Utopia" in different forms, while all of them act via aesthetic form of Audio-visual Montage. From the perspective of contemporary aesthetics, they interrelate with each other and explore the locations of people in the multiple overlapping society combined with pre modern, modern and post-modern contexts, its aesthetic significance lies in representing different ways of rebellion against fate during the process of Chinese modernization, changing people's emotional structure effectively, and it is a form of humanism tragedy.