北京航空航天大学学报(社会科学版) ›› 2019, Vol. 32 ›› Issue (5): 47-51.DOI: 10.13766/j.bhsk.1008-2204.2019.0208

• 本期特约专家稿件 • 上一篇    下一篇

本雅明的电影美学思想——基于“惊颤”体验的艺术

戴蓓芬   

  1. 北京航空航天大学 人文与社会科学高等研究院, 北京 100083
  • 收稿日期:2019-07-02 出版日期:2019-09-25 发布日期:2019-11-01
  • 作者简介:戴蓓芬(1985-),女,浙江宁波人,讲师,博士,研究方向为文化传播与管理、美学、伦理学等.

Benjamin's Film Aesthetic Theory Based on the Shock Experience

DAI Beifen   

  1. Institute for Advanced Studies on Humanities and Social Sciences, Beijing University of Aeronautics and Astronautics, Beijing 100083, China
  • Received:2019-07-02 Online:2019-09-25 Published:2019-11-01

摘要:

本雅明的电影美学理论有别于法兰克福学派的其他成员,他未采用传统美学框架将艺术置于超越于现实的独立领域,而是通过深入现代社会的内在现实——处于短促的"惊颤"体验中的现代人的精神世界,揭示出电影艺术之于现代人的真正意义。这种意义在于,摄影机对现实画面的分割以及蒙太奇能够再现"惊颤"体验;电影消遣性的接受方式成为大众建立应对日常"惊颤"的心理机制;电影群体共时的观赏形式能够起到精神分析层面的治疗效果。本雅明对现代电影美学特质的一系列分析,能够使我们正视现代社会及其内部的艺术形式发生的深刻变化。

关键词: 电影美学, 现代性, “惊颤”体验, 本雅明, 艺术史

Abstract:

Benjamin's film aesthetic theory is distinct from the other members of the Frankfurt School. He doesn't adopt the traditional aesthetical framework which is based on the idea that beyond or detach from reality. By deeply go through the spiritual world of modern people in which immersed in the short and fragmental "shock" experience, Benjamin disclose the significance that film brings to modern people, which lies in that, the camera cutting the image of reality and the montage can represent "shock" experience, the leisured way in which we consume movies will form the mental mechanism that the mass use for handling the daily shock, the experience that the mass watch a movie simultaneously will take the therapeutic effect in a psychoanalysis sense way. The analysis that Benjamin make on the specialties of modern film helps us confront the intrinsic change in the modern society and the art form generated in this society.

Key words: film aesthetic theory, modernity, shock experience, Benjamin, the art history

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