媒介对话与本体自觉——青年爱森斯坦对先锋美学的启示

Dialogues of Mediums and Self-consciousness of Ontology: Young Eisenstein’s Enlightenment for the Avant-garde Aesthetic

爱森斯坦的杂耍蒙太奇概念包含“杂耍”和“吸引力”两层意义,它产生于戏剧与电影的媒介对话,发展为电影的本体自觉:在戏剧中,它运用杂耍表演解构古典戏剧的意义与风格;在电影中,则转化为激荡观众情绪和意义联想的“吸引力”。爱森斯坦以异质碰撞震撼情绪、生成意义为基础,建立起吸引力蒙太奇/垂直蒙太奇/理性电影的本体理论体系,对二战后先锋电影的本体认识、先锋艺术的媒介对话和东方电影的本体表述都具有启示意义。

Montage of attractions is an Eisenstein’s concept containing two significances: attractions and attraction. It was born in the dialogue of mediums between Theater and Cinema, and become a self-consciousness of filmic ontology. In the theater, it deconstructs the sense and style of classic drama by performance of “attractions”;in the cinema, it transform on “attraction” that produce audience’s emotion and significant imagination. From his foundation of montage-the impact heterogenic shocks the spectator’s feeling and birth a certain senseEisenstein constructs his ontological system of montage by montage of attractions, vertical montage and intellectual cinema that becomes an enlightenment for experimental film esthetic, avant-garde art mediums ‘dialogues and ontological speech of oriental cinema.