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浅析梅洛庞蒂现象学中的电影美学 作者:李静

关 键 词 :梅洛庞蒂;电影;意向性;身体;显现与共现学科分类:文学--文艺美学

摘要/Abstract

本文将《知觉现象学》和《电影与心理学》结合起来对梅洛庞蒂的电影美学进行分析。首先通过分析古典心理学的感觉混沌论、内心观察法、生理心理学的缺陷指出了格式塔心理学的优势。梅洛庞蒂认为电影是一种时间格式塔。格式塔心理学的意向性具有构造功能,而电影的排列也需要意向性来进行构造。其次,本文通过梅洛庞蒂重要的身体转向以及身体知觉的重要性引入了身体意向性,进一步说明了知觉的重要性的同时将视野拓宽入当代的触觉视觉并进一步阐释了电影艺术的主体间性问题。最后,本文通过对梅洛庞蒂对自然感知和电影感知的区分——在自然感知中背景被悬隔而在电影感知中背景似乎被刻意的忽略,阐释了梅洛庞蒂为什么放弃电影。总而言之,本文以《电影与心理学》为主,借助梅洛庞蒂最重要的著作——《知觉现象学》对他的电影美学进行分析,希望能够从现象学的角度为后电影时代的电影美学提高新的角度。


This article combines Phenomenology of Perception and The Film and the New Psychology to analyze The Aesthetics of film in The Phenomenology of Merleau-Ponty. First of all, by analyzing the defects of classical psychology's sensory chaos theory, inner observation method, and physiological psychology, the advantages of Gestalt psychology are pointed out. Merleau-Ponty believed that cinema was a kind of time gestalt. The intentionality of Gestalt psychology has a tectonic function, and the arrangement of films also requires intentionality to construct. Secondly, this paper introduces the intentionality of the body through the important body turn of Merleau-Ponty and the importance of body perception, further explains the importance of perception while broadening the horizon into contemporary tactile vision and further explains the intersubjective problem of film art. Finally, this paper explains why Merleau-Ponty gave up film by distinguishing between Merleau-Ponty's perception of nature and cinema perception, in which the background is suspended and in which the background seems to be deliberately ignored. All in all, this article is based on The Film and the New Psychology, with the help of Merleau-Ponty most important work, "Phenomenology of Perception", to analyze his film aesthetics, hoping to raise a new perspective for the film aesthetics of the post-cinema era from the perspective of phenomenology.


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论文刊载证明

浅析梅洛庞蒂现象学中的电影美学 于 2022-05-19 在中国高校人文社会科学信息网(互联网出版许可证:(总)网出证(京)字第052号)刊载,对外公开发表。论文作者为:李静 。特此证明。

  

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2022-05-19