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分析一部电影作品离不开必要的美学知识。德国哲学家黑格尔的《美学》四卷本,虽然读来十分枯涩,但有不少论说,仍为我们提供了鉴赏和分析艺术作品的最重要的理论根据。比如“情境”,就是黑氏花了一个章节探讨的一个概念。已故著名美学家朱光潜先生在其黑格尔《美学》中文译本中是这样解释“情境”的:即指某一个别人物和某一个别情节所由产生和发展的具体情境。通俗地讲,“情境”就是故事发生的“由头”。故事为什么发生,怎样发生,会朝什么样的方向发展,怎样发展,“情境”在其中都起着至关重要的作用。
Analysis of a movie is inseparable from the necessary aesthetic knowledge. Although the four volumes of the German philosopher Hegel's “Aesthetics”, though very perplexing, have many arguments, they still provide us with the most important theoretical basis for appreciating and analyzing works of art. Such as “situation”, is a concept that Blacks took a chapter to explore. In his Chinese translation of Hegelian “Aesthetics,” the deceased famous esthetician Zhu Guangqian explained the “situation” as follows: The specific situation that arises from the development and development of a particular individual and an individual episode. In a nutshell, “situation” is the “head” of the story. What happened to the story, how it happened, what direction it should develop and how to develop it. The “situation” played a crucial role in it.