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此文作者雷蒙·贝卢尔是法国电影本文分析学派的奠基人之一,曾以希区柯克的影片为主要研究对象,撰写了一系列有关电影分析的篇章。 这篇完成于1975年的学术论文是对电影特性的反思,是对影片本文分析的批判性再认识。作者从对音乐本文、绘画本文、以及戏剧本文的特征把握入手,阐释了电影本文与它们的异同,进而从运作层面说明它们与文学本文的本质区别,指出它们是不可企及的本文。 此文的论述虽然带有法国理论式的玄奥,但却内在地触及到了电影本文的基础特性和影片分析中不可避免的问题,使读者能够对当代电影理论建立更加完整的意识。
The author Raymond Bernal is one of the founders of the French analysis of this movie, once Hitchcock film as the main research object, wrote a series of chapters on film analysis. This essay, completed in 1975, is a reflection of the characteristics of the film and a critical re-understanding of the analysis of the film. From the perspective of music, painting and the characteristics of the drama, the author explains the similarities and differences between the movie and their similarities and differences, and then explains the essence of the differences between the movie and the literary text from the operational level, pointing out that they are unworthy of the text. Although this essay has the mystery of French theory, it intrinsically touches on the basic characteristics of the movie and the inevitable problems in the film analysis, enabling readers to establish a more complete sense of contemporary film theory.