作　者：艾士薇
关键词：人民性；法国左翼电影美学；电影本体论；电影反映论；电影主体论；新时代影视创作
摘　要：

在20世纪70年代中后期，以福柯、德勒兹、巴迪欧和朗西埃为代表的法国左翼思想家，集体转向电影研究。他们立足于马克思主义人民性文论传统，从电影本体论、反映论和主体论建构起以人民为中心的电影美学新形态。他们考察电影的特性、运动—影像对观众与现实的影响，揭示电影的“人民艺术”或“群众艺术”本质；他们研究第三世界电影与“少数电影”，强调电影应成为话语行动，反映人民生活，“生成”人民的新形象；他们推崇站在人民立场的电影创作或批评，主张用业余电影创作与批评打破既有的感性分配，实现人民的审美解放。在中国新大众文艺迅猛发展的现实背景下，当代法国左翼电影的人民性美学，对新时代中国影视创作具有重要的理论启示。

 

On People-centered Aesthetic Construction in Contemporary French Left-wing Cinema and Its Implications for China
Ai Shiwei
（Wuhan University）
Abstract In the mid-to-late 1970s, a group of French left-wing thinkers represented by Foucault, Deleuze, Badiou and Rancière collectively turn to film studies. Rooted in the Marxist literary and artistic theoretical tradition of people-centeredness, they established a new form of people-centered film aesthetics from the perspectives of film ontology, reflection theory, and subject theory. By examining the nature of cinema and the impact of movement-image on audiences and reality, they revealed the essence of cinema as "people's art" or "mass art". Through studying Third World cinema and "minor cinema", they emphasize that film ought to function as discursive practice, depicting the lives of the people and "becoming" new images of people. They advocated film creation and criticism based on people's standpoint, contending that amateur filmmaking and criticism can dismantle the existing distribution of the sensible and deliver aesthetic emancipation for the people. In the actual context of the rapid development of China's new popular literature and art, the people-centered aesthetics of contemporary French left-wing cinema offers important theoretical implications for Chinese film and television creation in New Era.
Key words people-centeredness; French left-wing film aesthetics; film ontology; film reflection theory; film subject theory; film and television creation in New Era

 

■ 作者简介 艾士薇，武汉大学文学院副教授，湖北 武汉 430072。 

[PDF]（下载数：）