东西方电影形态的差异性

东西方电影形态的差异性

东西方不同的文化传统和历史积淀，奠定了东西方不同的艺术美学。在《论亚里士多德的〈诗学〉》里，俄罗斯著名美学家车尔尼雪夫斯基说，“《诗学》是第一篇最重要的美学论文，也是迄至前世纪末叶一切美学概念的依据”，又说，“亚里士多德是第一个以体系阐明美学概念的人，他的概念竟然雄霸了两千余年”。《诗学》中，亚里士多德系统地提出了影响西方美学发展路径的“模仿说”，即艺术是对自然的模仿。我们现在所谓“美的艺术”，如诗歌、音乐、图画、雕刻等，在亚里士多德的著作中叫做“模仿”（Mimesis）或“模仿艺术”。从这个名称上就可以看出他把“模仿”看作这些艺术的共同功能。这种美学观点对于两千余年后产生的新兴艺术门类——电影，无论是理论上，还是实践上，亦产生了深远的影响。

如果说西方美学重模仿，重再现。那么，不同文化传统熏陶下的以中国为代表的东方美学则重抒情，重表现，最终发展为意境的理论。画史上对唐朝画家张躁有这样的记载：“张躁，字文通，画松特出古今，能以手握双管，一时齐下，一作生枝，一作枯枝，气傲烟霞，势凌风雨，槎桠之形，鳞皴之状，随意纵横，应手间出。毕宏画名擅於时，一见惊叹，异其唯用秃笔，或以手摸绢素，因问所学？曰：‘外师造化，中得心源！’。”笔者以为，张躁所言的“外师造化，中得心源”，精确地道出了东方美学尤其是中国美学的精髓所在，就是注重对外在“造化”的模仿，但是最终却要由内在的“心源”来作决定，“造化”是为“心源”作准备的，“心源”才是艺术家最终凭借的根据。就像中国绘画中所说的“手中之竹”与“胸中之竹”的区别一样。这种美学观点与中国艺术注重艺术意境的创造是紧密相关的。

在东西方电影影像的表现方式上，也体现了这些差异。

理论构架的差异性

在《电影是什么》中，法国电影批评家、理论家巴赞提出了他的电影理论体系的基础和核心，就是电影影像本体论和长镜头论。巴赞认为，电影本质上是“真实的艺术”。

齐格弗里德·克拉考尔是一位原籍德国的美国学者。他采纳了巴赞的理论前提，根据他40多年的“观影经验”，写出了《电影的本性——物质现实的复原》一书，在卷首序言中声明这本书“是一种实体的美学，而不是一种形式的美学，它关心的是内容。它的立论基础是：电影按其本质来说是照相的一次外延，因而也跟照相手段一样，跟我们的周围世界有一种显而易见的近亲性。当影片记录和揭示物质现实时，它才成为名副其实的影片。”

以巴赞、克拉考尔为代表的纪实派电影理论，就是一次对西方传统的艺术观——艺术是对自然的模仿——的回归。虽然在后来，电影理论又有了新的发展，出现了新的电影理论流派。但是，他们的纪实派电影理论的影响却一直没有中断，无论在理论界，还是在电影实践领域。

东方没有产生过影响深远的电影理论著作，经典电影理论著作基本上都是产自于西方，这也许再一次印证了东西方文化的差异。但是，这也并不意味着东方就没有自己的电影理论。例如，从1905年中国人拍出了自己的第一部电影《定军山》开始，电影就逐渐开始向中国几千年的传统艺术形式，例如戏剧，借鉴学习，从而在理论上产生了对中国电影影响深远的“影戏”观。早期电影艺术家侯曜说过，“影戏是戏剧的一种，凡戏剧所有的价值它都具备。” 而“影戏”理论的核心就是，以戏剧式的叙事为本位去把握电影的方式，是一种与西方电影理论截然不同的中国式的电影本体论。

题材选择的差异性

希腊文化对整个西方文化的影响是举世公认的，其中的科学理性精神同样深刻地影响着西方世界。随之而来的结果就是，西方人特别注重逻辑思维和理性分析能力的培养和发展，呈现出与东方人迥然不同的思维方式。同时，希伯来精神中的教信仰也深刻地影响着西方世界。二者相结合，西方文化传统里就产生了大量的充满理性的哲学著作，散发出浓厚的人性关怀。

这对于电影的影响也是巨大的，尤其是继承了西方文化精髓的欧洲电影。在题材选择上，一方面是形而上的“哲学电影”，这种电影给人的感觉，犹如将电影作为一个载体，来探讨哲学的命题。

本文中所提及的东方文化是以中国、日本及韩国为代表的东方文化，尤其突显中国文化，众所周知，日韩文化受到中国传统文化的深远影响。对于中国文化的构成，李泽厚先生在《美的历程》中，认为是“儒道互补”的。但同时也承认“孔子在塑造中国民族性格和文化—心理结构上的历史地位，已是一种难以否认的客观事实。孔学在世界上成为中国文化的代名词，并非偶然。” 可以说，综观中国数千年来的传统文艺作品（除某些纯粹的爱情诗、田园山水诗和其他抒情性的文艺作品外），历代文人的政治立场、个人理想、思想情感、心理反射、生活方式等都深印着儒家的伦理色彩。

这在东方电影中也有鲜明的体现，著名的日本导演小津安二郎，他一生拍过50多部电影，其中绝大部分都是对日常平凡生活的记录和反映，没有戏剧式电影中的矛盾冲突和激烈的大事件，有的只是现实中家庭关系平淡的描写。

其实，即使是对同一题材的处理，东西方电影也呈现出不同的文化烙印。例如，同是爱情影片，西方电影就呈现出激烈奔放的感情色彩。在爱情片《泰坦尼克号》中，当杰克与露丝遇到外在的危难时，他们是以一种荡气回肠的方式祭奠爱情。而在东方的爱情片中，

男女主人公常常是采取含蓄内敛的方式面对爱情，如中国的经典影片《小城之春》、韩国影片《八月照相馆》等。

影像呈现的差异性

西方文化中重视精确性和科学理性，使得西方电影的影像有自己的独特特征，例如为了提倡“现实的多义性”而产生的长镜头和景深镜头。巴赞认为，电影要做到从多义的现实事物中，让观众“悟出”其“确切含义”的话，只有不被剪断的景深镜头，才能给观众这一权利。巴赞以奥逊·威尔斯的影片为例，指出这位导演在《公民凯恩》里用景深镜头来刺激观众，因为这种技巧迫使观众去使用他们自由的注意力，同时也使他们觉察到事实的多重矛盾，这就使他的景深镜头具有三重的真实，即本体论的真实、戏剧的真实和心理的真实。在影片中有一个经典的景深镜头，画面的前景是，屋里的小凯恩的父母在与经纪人商谈关于送小凯恩出去的事情，而画面背景的深处，窗户外的小凯恩在无忧无虑地玩雪，不知道自己的命运正在发生改变。这一景深镜头简单而多重含义地将巴赞所强调的“现实的多义性”表达了出来。

巴赞的长镜头理论进入中国后，也受到了电影人的欣赏和实践，但是在东方电影中的长镜头，似乎只存留了长镜头的外形。仔细分析，东方电影长镜头的运用，明显蕴涵和折射出东方文化的意韵，其中的突出代表，当推导演侯孝贤。在侯孝贤的电影中，多见悠长缓慢的长镜头，慢慢地摇移。它只是一种形式，并非是对绝对客观景象的机械描摹，而是经写实、传神而至妙悟的一种心灵境界的折光反映。

The differences of eastern and western movie form

East and west of different culture tradition and history accumulate, establishes

the eastern and western different art aesthetics. In \"on Aristotle's\" poetic > \"in, the famous Russian chernyshevsky aestheticians said,\" poetics is the first article of the most important aesthetic paper, also be to 1 4 th century before are all of the concept of aesthetic basis \clarify the concept of aesthetic, his concept was more than two thousand years the rule\". Poetics, Aristotle system proposed the influence of the western aesthetic development paths \"imitation,\" which means art is to natural imitation. We now call \"beautiful art\such as poetry, music, drawing, sculpture, etc, in Aristotle's book is called \"copying\" (Mimesis) or \"imitate art\". From this name on we can see that he put \"copying\" as the art of common functions. This kind of aesthetic viewpoint for the generation after more than two thousand years of emerging art door, film, whether in theory or in practice, also had the profound influence.

If western aesthetics heavy imitation, heavy reappear. So, different cultural traditions of the cultivation in China, as a representative of the Oriental aesthetics is the heavy sentiment, heavy performance, eventually developed for the theory of artistic conception. The history of fine arts of the tang dynasty painter zhang rashness have such records: \"zhang rashness, word, picture the text link to the ancient and modern, loose talented hand double tube, at that time, a born for all of a dead branches, uplifted, YanXia, the potential hath rain, Cha fork, scale Cun the shape of the shape, and it out at will, between. BiHong HuaMing good at, a see amazing, different its only use TuBi, or in the hand pieces, for ask learned? Yue:\" the heart of creation, teacher source! '.\" The author thought, zhang said about the \"creation in the division, heart source\especially the quintessence of Chinese aesthetics, is much attention to the \"nature\"

in the imitation, but in the end but by the intrinsic \"heart source\" makes the decisions, \"nature\" is for \"heart source\" be prepared, \"heart source\" is an artist with according to the end. Just as in Chinese paintings had said \"hand of bamboo\" and \"the bamboo in between. This kind of aesthetic viewpoint and the Chinese art focused on the creation of artistic conception are closely related.

In the eastern and western film image expression way, also reflected these differences.

The differences of the theoretical structure

In the movie is what \movie praise in the theoretical system of the foundation and the key is that film images of ontology and long lenses. Praise and think, the movie is essentially a \"real art\".

Siegfried · carat kaoer is a German origin of American scholars. He adopted the praise and theoretical prerequisite, according to his more than 40 years of \"view of experience,\" wrote the film nature, physical reality recovery, \"a book, in the preface of this book JuanShou statement\" is a kind of entity aesthetic, not a form of aesthetics, it is concerned with the content of the theoretical foundation. It is: it is the essence of the film according to take a picture of an extension, which is also the same with photographic means with our around the world, there is a kind of obvious. When the film close relatives of the sexual record and reveals the physical reality that it become truly film.\"

The israeli-palestinian praise, carat kaoer, as a representative of the documentary film theory pie, is a traditional western artistic-art is to natural imitation-return. Although in the later, the film theory is a new development, the emergence of a new film theories. But, they sent the documentary film theory of influence, but had not been interrupted, whether in theory or in practice field of film.

The east has produced no profound theoretical work on the film, classic movies theory works are basically comes from the west, this may once again proved the difference between the eastern and western culture. But it also doesn't mean that the east is not their own film theory. For example, from 1905 Chinese people take out their popular \"silent movies\" start, the movie is gradually began to China several thousand years of traditional art form, such as drama, profits from the study, which in theory of Chinese film produced far-reaching \"concept\" view. Early film artist HouYao said, \"the movie is a kind of drama, the value of all who plays it has it all.\" And the \"concept\" the theory of the core is to dramatic narrative as the standard way to grasp the movie, is a kind of and the western film theory completely different Chinese movie ontology.

The difference of the subject matter

Greek culture on the whole the influence of western culture is universally acknowledged, one of the scientific rational spirit also profoundly affects the western world. As a result is, westerners pay special attention to logic and rational analysis ability training and development, present a and the Oriental very different

ways of thinking. At the same time, the spirit of the Hebrew Christian faith also profoundly affects the western world. Their combining, western culture tradition has a large number of full of rational philosophical work, send out a thick human caring.

This film is for the influence of the huge, especially inherited the western culture essence of European movies. In the subject matter, on the one hand, the metaphysical philosophy movie \movie as a carrier, probes into the philosophical proposition.

This article mentioned in eastern culture is China, Japan and South Korea, as a representative of the Oriental culture, especially highlight the Chinese culture, as it is known to all, South Korea culture of China's traditional culture is profound influence. For the structure of the Chinese culture, Mr. Li zehou in the course of beauty \"in, that is success, complementary\". But at the same time also acknowledged that \"Confucius in shaping China national character and culture-the historical position of psychological structure, already is a kind of hard to deny that the objective facts in the world. KongXue become the pronoun of Chinese culture, it is not by chance.\" Can say, throughout China for thousands of years of traditional literary works (except some pure love poem, rural landscape poems and other lyricism of the literary and art works), the literati politics, the ideal of personal, emotional, psychological reflection, thought lifestyle are deeply printed with the Confucian ethical color.

The movie also in the east has bright to reflect, the famous Japanese director

yasujiro ozu, all his life he filmed in more than 50 films, among them the majority of the ordinary life is daily record and reflect, no dramatic