【译者前言】(1)在当代国外电影理论研究中,先锋派电影理论占据着重要的一席之地。了解先锋派电影理论的较新发展,对于我们扩大和加深对当代国外电影文化和一般电影理论的认识是非常必要的。战后西方先锋派电影的活动中心主要在美国,特别是纽约和旧金山地区,不言而喻,战后美国先锋派电影制作及理论自然地成为今日先锋派电影理论研究的主要对象。先锋派电影观众甚少的状况与先锋派电影理论广受电影研究者关注的情况形成对比。但是正如历时百年的现代派绘画会一直继续存在一样,历时七八十年之久的先锋派电影制作活动也会一直存在。先锋派电影制作者的“身份”介于电影制作者、画家和诗人之间,他们都是同一文 【Translator’s Preface】 (1) In the contemporary study of foreign film theory, avant-garde movie theory occupies an important place. Understanding the new development of avant-garde film theory is necessary for us to expand and deepen our understanding of contemporary foreign film culture and general film theory. Post-war Western avant-garde film activities in the United States, especially in New York and San Francisco area, it goes without saying that the post-war U.S. avant-garde filmmaking and theory naturally become today’s avant-garde film theory research main object. The low profile of avant-garde moviegoers contrasts with the avant-garde movie theory that has drawn the attention of film researchers. But just as the centennial modernist painting will continue to exist, the avant-garde filmmaking activities that have lasted for seventy to seventy years will always exist. Avant-garde filmmakers “identity” between the filmmaker, painter and poet, they are the same text