“风吹树叶,自成波浪”——影像美学的本性

“The wind makes waves of leaves”:The Nature of the Aesthetics of Photograpic and Cinematic Images

依赖光影自动成像的摄影和电影等影像艺术为艺术美的问题提出了新的解释。从早期电影理论开始,影像美学就以对既成的自然生活的记录和复现为根本,这使造型美从一开始便被判断为“非电影的”。无论是克拉考尔式的对现代资本主义社会现象学式的观察分析与批判,还是德勒兹通过对运动—影像、知觉—影像等的哲学分析,都充分重视影像感知与自然感知无限贴近的能力。影像使逝去的对象重新“复活”,使自然现实以其绵延的、偶然的、未改动的面目复现,更以一种揭示力将封闭于其中被遮蔽的事物、自然的隐秘、时间与历史晶体中的无限多面等充分打开,影像提供了前所未有的与日常感知无限接近的感知形式,甚至影像以对对象的充分揭示带来无限深邃的感知、意识与精神的世界。这是影像美学的本性。

Photography and film,which rely on automatic imaging of light and shadow,provide a new explanation for the problem of artistic beauty.Since the early film theory,image aesthetics is based on the recording and reproduction of the established natural life,which makes the formative beauty be judged as"non filmic".Both Siegfried Kracauer's observation and criticism of the phenomenology of modern capitalist society,and Gilles Deleuze's philosophical analysis of movement-image and perception-image,attach great importance to the ability of infinite closeness between image perception and natural perception.The image makes the dead object"resurrect",makes the natural reality reappear with its continuous,accidental and unchangeable features,and fully opens up the hidden things,the secret of nature,the infinite facets in the crystal of time and history with a kind of revealing power.This is the nature of the aesthetics of photograpic and cinematic images.