以社会发展看待审美自由:作为可行能力的电影想象力消费

Viewing Aesthetic Freedom from Social Development:Cinematic Imagination Consumption as a Capability

北京大学学者陈旭光提出的电影想象力消费理论,是为幻想类电影的想象力美学和工业美学进行阐释的话语实践。该理论提出后,诸多学者展开激烈讨论,却往往忽略了其社会审美流动性变迁和消费内驱力等关键问题。为了解决以上问题,需要立足于社会发展理论与电影想象力理论的联结关系,将观众电影想象力作为一种可行性能力进行考察,分析电影想象力审美和消费的内部逻辑,以社会发展理念对个体能力要求的角度,重新看待中国电影中个体想象力的消费动机与审美自由问题。因此,电影想象力应该围绕着社会发展理念变迁,即以“经济人—社会人—全面人”的社会发展理念趋势为中心,进而驱动电影审美主体通过市场消费完成社会想象的美学建构。这种社会发展理念对现代观众的社会审美有强烈的内驱动力,而个体想象力消费能力作为“全面人”社会发展理念下的一种可行能力,应当获得相应的能力基础、社会权利承诺和想象自主选择,达成电影想象力审美实质自由的行动实践全部过程。

Chen Xuguang,a scholar from Peking University,proposed the theory of film imagination consumption to interpret the imaginative and industrial aesthetics of fantasy films.Although this theory has sparked intense discussions among scholars,crucial issues such as social aesthetic fluidity and consumption drive are often overlooked.To address these issues,it is essential to explore the relationship between social development theory and film imagination theory,examining the audience s film imagination as a capability.By analyzing the internal logic of film imagination aesthetics and consumption,and adopting a social development perspective on individual capabilities,we can reassess the consumption motives and aesthetic freedom of individual imagination in Chinese films.Therefore,film imagination should evolve around the changing social development concepts,specifically following the trend of“economic man-social man-comprehensive man”,thus driving film aesthetic subjects to complete the construction of social imaginative aesthetics through market consumption.This social development concept strongly drives the social aesthetics of modern audiences,and individual imagination consumption ability,as a capability under the social development concept of“comprehensive man”,should obtain the corresponding ability foundation,social rights commitments,and imaginative autonomous choices,achieving the entire process of substantive freedom of film imagination aesthetics in practice.