杜夫海纳“审美深度理论”观照下的《东邪西毒》中的感情流动研究

Emotion flow in Ashes of Time in Perspective of Mikel Dufrenne’s“Theory on Aesthetic Depth”

法国哲学家杜夫海纳(Mikel Dufrenne)《审美经验现象学》中的“感觉和审美对象的深度理论”在电影研究领域还没有被学者们广泛研究。电影作为第七艺术,它的审美价值是其不可或缺的属性之一,而杜夫海纳则定义“深度”作为审美对象的表现力。这两者之间的碰撞为后现代导演王家卫作品《东邪西毒》的解读提供了一种新的视角。王家卫电影最大的特点便是表达那种微妙、绵延又难以言喻的情愫。而这种无形无声又极具流动性的情感,也需要借助一些物象来传递。在《东邪西毒》这部时间凌乱、主要人物多且关系混乱的电影中,以情感的依托物为审美对象,反而可以在飘忽不定的江湖恩怨中梳理出一条相对清晰的脉络。

“The feeling and the depth of the aesthetic object”in Phenomenology of Aesthetic Experience by French philosopher Mikel Dufrenne has not been widely studied by scholars in the field of film research.Film,as the seventh art,its aesthetic value is one of its indispensable attributes,while Dufrenne defines“depth”as the expressive force of aesthetic objects.The collision between them provides a new perspective for the interpretation of the post-modern director Wong Kar-Wai’s cinematographic work Ashes of Time.The most outstanding feature of his films is the expression of subtle,continuous and indescribable sentiment.And this kind of invisible,silent and fluid emotion also needs to be conveyed by some objects.In Ashes of Time,which has a messy timeline,many main characters and chaotic relationships,the emotional support is used as the aesthetic object and a relatively clear main line can be sorted out from the erratic grievances.