现象学现实主义的概念生成与美学呈现——以安德烈·巴赞《电影是什么?》为中心

The Concept Generation and Aesthetic Presentation of Phenomenological Realism——Focusing on AndréBazin's“What is Cinema?”

安德烈·巴赞在评论费里尼的电影《卡比莉亚之夜》时提出一个经典命题——《卡比莉亚之夜》是现象学现实主义的作品。巴赞在其著作中并未解释什么是现象学现实主义?对这一概念的内涵与外延同样语焉不详。本文认为,现象学现实主义作为巴赞电影美学的重要概念,融合了巴赞对电影题材、剧作、风格、影像等创作环节开放、多元的批评标准,现实世界的照相写实不足以概括巴赞现实主义电影美学的全貌。建构在电影媒介特性之上的现象学现实主义,在影像上着力刻画日常生活表象的真实,电影叙事上则表现为一种“相遇”结构,即剧作人物之间相遇并随之自由交集而产生的情节活动。正是在影像风格和叙事结构上的创新,现象学现实主义成为巴赞极力推崇的美学风格,也成为理解巴赞现实主义电影美学观念的核心命题。

AndréBazin put forward a classic proposition when commenting on Fellini's film"Nights of Cabiria":"Nights of Cabiria"is a work of phenomenological realism.Bazin does not explain in his writings what phenomenological realism is.The connotation and extension of this concept are equally unclear.This paper argues that phenomenological realism,as an important concept of Bazin's film aesthetics,integrates Bazin's open and pluralistic criticism standards for film themes,plays,styles,images and other creative links,and that the photorealism of real world is not enough to summarize the whole picture of Bazin's realist film aesthetics.Phenomenological realism,which is constructed on the characteristics of film media,focuses on depicting the reality of the appearance of daily life in the image,while film narrative is manifested as an"encounter"structure,that is,the plot activities generated by the encounter between the characters of the play and the free intersection of them.It is precisely because of the innovation of image style and narrative structure that phenomenological realism has become the aesthetic style that Bazin highly admires,and it has also become the core proposition for understanding Bazin's realistic film aesthetic concept.