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上海大学学报(社会科学版) ›› 2019, Vol. 36 ›› Issue (4): 61-71.

• 影视理论研究 • 上一篇    下一篇

想象与介入——萨特电影理论中的复调

  



  1. 中南财经政法大学新闻与文化传播学院
  • 出版日期:2019-07-15 发布日期:2019-07-15
  • 基金资助:
     国家社会科学基金项目（15BWW004） 

Imagination and Intervention: Polyphony in Sartre’s Film Theory

  • Online:2019-07-15 Published:2019-07-15

摘要：  萨特的电影理论是在他的哲学研究和文学实践中逐渐丰富和完善的。他的电影理论发展分为三个阶段。20世纪30年代的现象学的心理学时期，他从影像入手，指出影像的心理性和象征性特点；40年代的存在主义时期，他认为影像先于存在，并通过叠加逐渐显示生命本质的真实和意义；40年代到60年代的马克思主义时期，他认为电影本质上就是对人群说话，电影的生产与传播具有产业化与社会化的特点。
关键词： 

关键词: 萨特电影理论, 想象与介入, 复调, 大众传播

Abstract: Sartre’s film theory was gradually enriched and improved with the advancement of his philosophical research and literary practice. The development of his film theory consists of three phases. In the first phase of “phenomenological psychology” in the 1930s, he started with “imaginaries”, pointing out their psychological and symbolic characteristics. During the second phase of “existentialism” in the 1940s, he held that imaginaries predated existence and generated the authenticity and meaning of the nature of life through superimposition. During the third phase of “Marxism” from the 1940s to the 1960s, he believed that the essence of film was speaking to the mass, so film production and dissemination acquires the features of industrialization and socialization.
Key words：

Key words:  , Sartre’s film theory, imagination and intervention, polyphony, mass communication