“志”与“辞”:中国小城镇电影的抒情美学

“Aspiration” and “Rhetoric”:Lyrical Aesthetics of Chinese Small-town Films

中国电影史上存在一类旨在“抒情”的小城镇电影,它们以边缘的姿态进行着电影艺术本体和审美形式的探索,获得了相当高的美学成就。梳理电影史的抒情脉络时发现:一方面,现实主义电影努力在戏剧性故事中追求抒情性,从而产生了具有强烈或明显抒情意味的诗意电影;另一方面,一批旨在发掘和推进电影美学的电影导演尝试在电影主题和电影语言表现上进行突破,从而产生了真正的抒情电影,也营构电影的诗情。中国电影的抒情美典中有大量小城镇电影,以《小城之春》《早春二月》《边城》三部小城镇抒情电影美典为例,可以看出:小城镇电影抒情美学本体的核心是抒情的主体性,其抒情主体借作品以“言志”,在创作中毫无保留地展现了个人的生命经验、艺术观念和审美理想;抒情美学的形式指电影主体在进行抒情时使用的修辞方法,从及物性修辞到去物性修辞,其抒情主体带领观众进入作为抒情对象的物质世界,同时又创造了超越物质世界的诗意。

In the history of Chinese film,there exist a kind of small-town film which aims at “lyricism”.They are exploring the film art and aesthetic form in a marginal way,achieving a big success.When studying the lyric context of the film history,it can be found that:on the one hand,realistic films strive to pursue lyricism in dramatic stories,which aims to produce poetic films with strong or obvious lyrical meaning;on the other hand,a group of film directors who aim to explore and promote film aesthetics try to make breakthrough in the theme and language expression of films,which then produces real lyric films and constructs the poetry of films.There are a large number of small-town films seen in Chinese lyric films.Taking three small-town lyric films Spring in a Small Town,Early Spring February and The Frontier City as examples,we can see that the core of the lyric aesthetic noumenon of small-town films is the subjectivity of lyric.The lyric subject uses the works to “express the aspiration” and shows the personal life experience,artistic concept and aesthetic ideal without reservation.The form of lyric aesthetics refers to the rhetorical methods used by the film subject to express emotion.From transitive rhetoric to dematerial rhetoric,the lyric subject leads the audience into a material world when the object of lyric,at the same time,creates poetry beyond the material world.