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台湾电影理论的萌生和发展,是我国电影理论史的重要一页。上世纪60年代“中国影评人协会”与《剧场》理论家群体的兴起,带动了台湾电影理论的初兴,而70年代《影响》影人群体完成了台湾电影理论的现代转型。以西方新电影思潮为现代电影理念的范式,是台湾大多数青年一代电影理论家的集体选择。这样一种电影现代化的认同性建构,虽然使得台湾的电影论坛打破了以影评为主的格局,增添了显目的理论色彩,但也同时带来了电影文化发展上的缺失和偏枯。这样一种方向的文化选择,是否是历史进步的必要代价和必然趋势,确是值得深长思之。
The initiation and development of Taiwan’s film theory is an important page in the history of Chinese film theory. The rise of the “Chinese Association of Film Critics” and “theatrical theatrical theorist” in the 1960s led to the first rise of Taiwan’s film theory, while the “influential” filmmakers in the 1970s completed the modern transformation of Taiwan’s film theory. The paradigm of thinking of new movies in the West as the modern movie concept is the collective choice of most young film theorists in Taiwan. While such a film’s modern identity construction has caused Taiwan’s film forum to break the dominant mode of film criticism and add obvious theoretical color, it also brings about the lack of and lack of development of film culture at the same time. Whether such a direction of cultural choice is the necessary cost and an inevitable trend of historical progress is indeed something worth considering.