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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

理解巴赞：摄影影像本体论与纪实美学——是数字技术的挑战还是摄影技术的挑战

王志敏 赵楠   

  1. 北京电影学院电影学系
  • 收稿日期:2008-05-10 修回日期:2008-06-10 出版日期:2008-07-15 发布日期:2008-07-15
  • 通讯作者: 王志敏

Rereading A. Bazin: Realistic Aesthetics and the Ontology of the Photographic Image:
Challenge of Digital Technology or of Photographic Technology

  1. Department of Film Studies, Beijing Film Academy,
  • Received:2008-05-10 Revised:2008-06-10 Online:2008-07-15 Published:2008-07-15

摘要： 巴赞作为二战后电影纪实美学的积极鼓吹者，指出了电影起源的心理学背景是“完整电影的神话”，巴赞纪实美学的理论背景是他的建立在“完整电影的神话”理论基础之上的“摄影影像的本体论”，这一初衷，决定了巴赞的“完整电影的神话”理论的“目的论”错误。这同时也决定了巴赞的电影摄影影像本体论的局限性。巴赞关于电影影像本体的再现功能和表现功能关系的表述，主要特点是突出了电影的客观性，即再现功能，或者从本体论的角度更准确地说是过高地估计了电影的再现功能，过低地估计了电影的表现功能。这是理论表述上的明显失误。这种失误不是历史性的失误，应该说，即使是在当时，也是一个时代性的错误。

关键词: 纪实美学, 摄影影像, 本体论, 目的论

Abstract: Bazin, as an active advocate of film realistic aesthetics after WWII, pointed out that the psychological background of film origin was The Myth of Total Cinema. His theoretical background of realistic aesthetics was his ontology of the photographic image based on the theory of The Myth of Total Chinema. And this endowed The Myth of Total Cinema with teleological mistake, and in the same time, exposed the limitation of the ontology of photographic image. His expression on the relation of representation and manifestation highlights the objectivity of cinema, function of representation or, from the angle of ontology, he overestimated the power of representation and underestimated function of manifestation. This is an obvious mistake in theoretical expression.

Key words: photographic image, ontology, teleology, realistic aesthetics

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