摘要
作为现代哲学的“元话语”,主体或主体性问题在文艺理论领域表现为艺术家主体、艺术精神、艺术风格等问题的探究。在电影理论界,电影“作者论”理论最早源于法国。从法国“作者论”,到美国萨里斯的“作者论”批评,再到中国的“体制内作者”理论,经历了一场电影“作者论”的全球“理论旅行”。“体制内作者”已经成为中国新力量导演的电影美学观念和电影工业美学理论的重要原则之一。电影“作者论”的“理论旅行”隐含了在全球化时代大众文化崛起,电影观念变革,文化的产业化等重要的文化意义和意识形态蕴含。“体制内作者”观念在新力量导演中的形成并普遍践行意义重大。这标志着新力量导演的崛起和中国电影的工业化转型,也标志着电影工业美学理论生成的重要一步。
As the “meta-discourse” of modern philosophy, the issue of subject or subjectivity is manifested in the field of literature and art theories as the exploration of the artist subject, artistic spirit and artistic style. The film theory, named “Auteur theory” first originated in France. From the French “Auteur theory” to the American Sarris’ Notes on the Auteur Theory, to the Chinese “in-system auteur” theory, the “Auteur theory” has undergone a global “theoretical journey”. The “in-system auteur” theory has become the aesthetic concept of Chinese new force directors and an important principle of the theory of aesthetics of film industry. The theoretical journey of “Auteur theory” implies important cultural meanings and ideological connotations, such as the rise of mass culture, the change in the concept of cinema and the industrialisation of culture in the era of globalisation. The concept of “insystem auteur” is of great significance in the formation and widespread practice of the new force directors. It marks the rise of new force directors and the industrial transformation of Chinese cinema, as well as an important step in the generation of the theory of aesthetics of film industry.
出处
《社会科学》
CSSCI
北大核心
2022年第10期78-88,共11页
Journal of Social Sciences
基金
国家社会科学基金艺术学重大招标课题“影视剧与游戏融合发展及审美趋势研究”(项目编号:18ZD13)
北京市文联文学艺术创作扶持计划专项资金项目的阶段性成果。
