摘要
自电影艺术诞生以来,各种电影理论思潮不断涌现。与电影的理论流派研究相比,电影审美范式的分析更能贴近电影艺术本身。审美范式是审美活动中的一种审美模式,体现着电影艺术创作中的审美理想和审美趣味。不同的审美范式决定着对电影艺术不同的审美理解,从而形成不同的电影实践和理论思潮。对电影理论与实践的自律性、工具性、消费性、反思性四大审美范式进行分析,发现电影艺术呈现出的是艺术思潮更迭下的深层次的审美趣味和审美理想的转换与融合。
Since the birth of film art, various film theories have emerged. Compared to the research of theoreti- cal schools of film, analysis of the film aesthetic paradigm is more close to the film art itself. Aesthetic para- digm is a kind of aesthetic pattern in the aesthetic activity. It embodies the aesthetic ideal and aesthetic interest in film artistic creation. The different aesthetic paradigm determines the different aesthetic understanding of film art, thus forming different film practice and theories. Analysis of four aesthetic paradigms of self - disci- pline, instrumental, consumer, introspective about the film theory and practice presents the deep- seated fu- sion and conversion of aesthetic interest and aesthetic ideals under the change of artistic trends.
出处
《湖北理工学院学报（人文社会科学版）》
2013年第4期29-33,共5页
Journal of Hubei Polytechnic University(Humanities And Social Sciences)
关键词
电影
审美范式
自律性
工具性
消费性
反思性
film
aesthetic paradigm
self- discipline
instrumental
consumer
introspective
作者简介
李然（1981～），男，山东淄博人，讲师，博士生，主要从事美学及影视艺术的研究。
