导读:莫里斯·梅洛-庞蒂的知觉现象学电影观——探析《电影与新心理学》的理论意义

Introduction to Classic Literature on film: Morris Merleau-Ponty’s Phenomenology of Perception View of Film——Analysis of the Theoretical Significance of The Film and the New Psychology

法国哲学家莫里斯·梅洛-庞蒂在超越“身心二分”和“理性主义”观念的基础上,以其知觉现象学视角探析了电影的整体性感知模式,不但阐释了电影的本性和意蕴,也提供了一种从哲学角度思考和理解电影的研究方法,直接启发了世纪之交以来西方渐成声势的现象学电影思潮。因此,了解梅洛-庞蒂的电影观,既有助于我们认识西方现象学电影理论的内在关联和发展脉络,也促使我们更加自觉地建构具有中华民族特色的电影哲学体系,为建设中国电影学派提供必要的理论支撑。

The French philosopher Maurice Merleau-Ponty built upon his notion of transcending the concepts of "Mind-body Dichotomy" and "Rationalism" to probe into the overall perception mode of film from the perspective of Phenomenology of Perception. He not only explained the film’s nature and implication but also provided a research method for understanding film from a philosophical point of view, which directly influenced the trend of phenomenological film thought in the West since the turn of the century. Therefore, understanding Merleau-Ponty’s view of film not only helps us understand the internal connection and development of Western phenomenological film theories, but also prompts us to construct a film philosophy system with a Chinese national characteristic more consciously, in order to provide the necessary theoretical support to build the Chinese Film School.