电影的艺术家数:从“第八艺术论”到“影戏论”

The Film’s Status in Art: From “Eighth Art Theory” to “Shadow Drama Theory”

应对诸如"电影作为艺术"的种种非议,早期论证电影在艺术上"自成家数"的理论构想持论各异。这其间"第八艺术论"与"影戏论"影响较大,前者的逻辑是电影并行于戏剧而属于艺术,后者则是认为电影属于戏剧进而属于文学,两者实质上均是为了证明电影的艺术属性,而在国人既定的艺术认知框架中为电影找寻安放的位置,在电影艺术家数的论证上,无疑殊途而同归。影戏论"戏为主而影为宾"的功用性认知,同时也是中西之学在道器、主辅、体用、本末等种种对立范畴之间的一种代入性实践,一种"戏体影用"的具体化表述。

In response to the various criticisms of"movie as art",the early theoretical arguments for the film's status in art were different.Among them,the eighth art theory and the shadow drama theory had great influence.The logic of the former is that the film belongs to art in parallel with drama,while the latter thinks that the film belongs to drama and then belongs to literature.Both of them are essentially to prove that the film is one member of art.However,suspicion leads to the same destination.The search for the location of the film in the established art cognitive framework of the Chinese people goes the same way with argu?ments of the film's status in art.The functional cognition of"drama as the main body and shadow as the object"of the"shadow drama theory"is also a kind of substitutive practice between Chinese and Western studies in various antagonistic categories,such as Tao and Qi,main and auxiliary,Ti and Yong,the fundamental and the incidental,as well as a concrete expression of"drama as the main body and shadow as the object".