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象在其它领域中一样,在影片中规范构成是能够被确定在各种不同的方案之中的。在影片批评界,无论是大众化的还是学院式的,一些影片被选出来进行更广泛的讨论和分析,但另一些影片则被忽视,因为在理论写作中,论据的成立是由引证那些能表明论点的影片例子来支持的。在历史上,影片因为这个理由或另一个理由值得一提而被记录下来(比如影片的影响、美学意义和典型性)。这种情况的发生不仅是因为历史编纂学的理由(每一种原因的说明总是赋予各种特殊的联系或结合以特权),而且同样也是因为有实际的理由:一部想要概括每部影片的历史将会由于特里斯特拉姆·商第(Tristan Shandy)式的矛盾而陷入困境,那就是它在应该包含的、与日俱增的影片数量
As in other areas, the norm in film can be defined in a variety of different scenarios. In the film critics, whether popular or college-style, some films have been selected for broader discussion and analysis, while others have been overlooked because in the theoretical writing the argument is made by citing documents that indicate Argumentative video example to support. Historically, films have been recorded for this reason, or for another reason worth mentioning (such as the influence of films, the aesthetics, and the typicality). This happens not only for reasons of historiography (the explanation of each reason always imposes a special connection or combination of privileges), but also for practical reasons: a case where one wants to summarize each The history of the film will get bogged down by the Tristan Shandy-style contradictions, which are the number of films it is supposed to contain