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上海大学学报(社会科学版)

• 影视理论研究 • 上一篇    下一篇

“和弦论”：回归电影本体，重构电影美学——钟惦棐美学思想疏证

黄式宪   

  1. 北京电影学院，北京 100082
  • 收稿日期:2007-05-09 修回日期:1900-01-01 出版日期:2007-09-15 发布日期:2007-09-15

The Notion of Symphony: an Investigation of Zhong Dianfei's Aesthetic Thought

HUANG Shi-xian   

  1. Beijing Film Academy, Beijing 100088, China
  • Received:2007-05-09 Revised:1900-01-01 Online:2007-09-15 Published:2007-09-15

摘要： 在中国影坛，钟惦棐是一位成就卓著的文艺评论家、电影美学理论家。他的《电影的锣鼓》重在一个“破”字；而他在20世纪70年代末提出的“和弦论”，通篇强调的则是一个“立”字。他的“和弦论”为中国电影美学的重构奠定了坚实的理论基石。尽管岁月流转，他的“和弦论”到今天依然具有活泼、新鲜的思想力量，对当代中国电影创作及其产业化的推进，无疑依然具有很深刻的理论启迪意义。

关键词: 和弦论, 钟惦棐, 《电影的锣鼓》

Abstract: Zhong Dianfei, a marvelous aesthetic theorist about artistic critic and cinema, is memorized today as his critical articles, especially his wellknown Drum of Motion Picture. Since 1970s, Mr. Zhong has adopted the notion of symphony, which becomes the millstone in construction of Chinese film aesthetics.

Key words: Zhong Dianfei, Drum of Motion Picture, the notion of symphony

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