上海大学学报(社会科学版)

• 影视理论研究 • 上一篇    

诗 意 何 为——塔尔科夫斯基电影观

黄文达   

  1. 华东师范大学传播学院,上海 200062
  • 收稿日期:2006-09-29 修回日期:1900-01-01 出版日期:2007-01-15 发布日期:1900-01-01

What Is the Poetry for: Tarkovski’s View on Movies

HUANG Wen-da   

  1. School of Communications, East China Normal University, Shanghai 200062, China
  • Received:2006-09-29 Revised:1900-01-01 Online:2007-01-15 Published:1900-01-01

摘要: 塔尔科夫斯基电影丰沛的诗意,既不同于散文电影,也不同于原苏联“诗电影”。从词源学的角度,对诗的发展作历史梳理,可以看出诗是人类原初时期的创造性产物,是人类本源性的创造力、想像力的展现。塔尔科夫斯基正是在这一基础上建立他的电影观的。他将诗看作是一种生命的哲学指南,认为影片创作应该借助人类生命本源的想像力,创造影像的诗性智慧。他的影片将自然的真实与心灵的真实直面相对、互动、共震,为电影审美创造新的经验。

关键词: 诗性智慧, 诗电影, 生命, 影像, 真实

Abstract: Tarkovski’s poetic wisdom differs from ones of prosaic movies or Russian's “poetic films”. This essay, from the view of etymology, sorts out the development of the poetry and points out that poems are both the product of human creativity at the primitive age and the embodiment of his original creativity and imagination. It is on this basis that Tarkovski sets up his view on movies. He considers the poetry as a philosophical guide of life and holds that the production of films should borrow the imagination of the human original life so as to create images of poetic wisdom. His films interact, resonate and deal with the reality of nature and soul, thus creating a new aesthetic experience in the film history.

Key words: poetic film, life, image, reality, poetic wisdom

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