从艺术物性论看贾樟柯的影像美学

Viewing Jia Zhangke's Image Aesthetics from the Perspective of Artistic Materialism

在现实主义风格背后,是贾樟柯清醒的电影物性论自觉与材料语言的创新意识,后者是他在中国当代电影中占据重要位置的关键因素。贾樟柯反对造型形式主导的视觉美,故意暴露影像材料,凸显了电影作为物质的触觉美。影像现成品的挪用,凸显了电影自身的物质媒介属性,也使其电影成了具有自我指涉与自我反思的元电影。长镜头对日常生活物品的凝视抑制了虚幻的视觉欲望快感,凸显了物品的触觉深度与社会语义。演员的非职业化使用去除了表演性,凸显了底层社会群体的物质化身体。

Behind the realism style,it is Jia Zhangke's clear consciousness of film materialism and innovative consciousness of material language,which constitutes his important position in contemporary Chinese cinema.Jia Zhangke opposes the visual beauty dominated by the form of modeling,and deliberately exposes the material of the image,highlighting the tactile beauty of the film as a matter.The misappropriation of ready-made images highlights the material media attributes of the film itself,making it a metafilm with self reference and self reflection.The long lens gaze on the objects of daily life suppresses the illusory visual desire and pleasure,highlighting the tactile depth and social semantics of the objects.The non professional use of actors removes the performative aspect and highlights the materialistic body of the lower social groups.