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首頁> 外文學位 >THE SEARCH FOR CINEMA: A HISTORY OF ONTOLOGICAL CINEMA THEORY FROM 1900-1960 (FILM, MOTION PICTURE).
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THE SEARCH FOR CINEMA: A HISTORY OF ONTOLOGICAL CINEMA THEORY FROM 1900-1960 (FILM, MOTION PICTURE).

機譯：電影搜索：1900-1960年本體電影理論的歷史（電影，電影）。

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This work is a history of theorists' attempts to define the medium of cinema. The scope of this history extends from the earliest days of the cinema to the early 1960's, a period which is often referred to as the "classical era" of cinema theory.The concluding chapter, "Classical Aesthetics, Modernism, and Classical Ontologies of Cinema," is an attempt to place the preceding analyses into a larger context. This chapter characterizes the development of classical ontological cinema theory as a manifestation of the influence of modernist thought, a series of reactions to the technological and social upheavals that occurred during last years of the nineteenth century and the first half of the twentieth. This work concludes by noting that classical ontological cinema theory taken as a whole reflects a multiplicity of views concerning the cinema that, in harmony with the general thrust of modernist thought, imply that no definitive answer to the question "What is Cinema?" is possible but that there exist many possible definitions of "submedia" which taken as a whole constitute the universe of cinema.Most previous works on this subject portray the whole of classical cinematic theory preceding the realist approach taken by Andre Bazin and Siegfried Kracauer as an expression of a unified "formalist approach" whose major theme is a rejection of cinema's ability to reproduce reality. In contrast to this, the present work divides these early ontologies into three categories: a Western approach (Vachel Lindsay, Hugo Munsterberg, and Rudolph Arnheim) which emphasizes the cinema's ability to function as a medium of "high art", a Soviet approach (Dziga Vertov, Lev Kuleshov, V. I. Pudovkin, and Sergei Eisenstein) which generally emphasizes the cinema's potential to serve the practical needs of society as an educational instrument, and a category occupied solely by Bela Balazs, a theorist who created an ontology which synthesizes elements of both the Western and Soviet approaches and prefigures many of the themes expressed in the post-World War II realist theories of Andre Bazin and Siegfried Kracauer. The chapter devoted to post-World War II realist theorists indicates that Bazin and Kracauer's approach to the ontology of cinema differs from the Soviet approach and Bela Balazs's approach primarily in its rejection of the use of cinema as a vehicle for ideological communication.
機譯：這項工作是理論家嘗試定義電影媒介的歷史。這一歷史的范圍從電影的早期一直延伸到1960年代初期，這一時期通常被稱為電影理論的“古典時代”。最后一章是“古典美學，現(xiàn)代主義和電影的古典本體論”。 ”，是為了將前面的分析放在更大的背景下。本章將古典本體論電影理論的發(fā)展描述為現(xiàn)代主義思想的影響的體現(xiàn)，這是對19世紀最后幾年和20世紀上半葉發(fā)生的技術和社會動蕩的一系列反應。這項工作的結論是指出，從整體上看，古典本體論電影理論整體上反映了與電影有關的多種觀點，這與現(xiàn)代主義思想的總體思路相一致，意味著對“電影是什么？”這一問題沒有明確的答案。是可能的，但整體上存在許多可能的“次媒體”定義，它們構成了電影的整個領域。以前，有關該主題的大多數(shù)作品都描繪了整個經典電影理論，之前安德烈·巴贊（Andre Bazin）和齊格弗里德·克拉考爾（Siegfried Kracauer）采取了現(xiàn)實主義方法。一種統(tǒng)一的“形式主義方法”的表達，其主要主題是拒絕電影重現(xiàn)現(xiàn)實的能力。與此相反，當前的工作將這些早期本體論分為三類：西方方法（Vachel Lindsay，Hugo Munsterberg和Rudolph Arnheim）強調了電影院作為“高級藝術”媒介起作用的能力，是蘇聯(lián)的方法（ Dziga Vertov，Lev Kuleshov，VI Pudovkin和Sergei Eisenstein）普遍強調電影作為教育工具可以滿足社會實際需求的潛力，并且是理論家貝拉·巴拉茲（Bela Balazs）獨有的類別，貝拉·巴拉茲（Bela Balazs）創(chuàng)建了一個本體論，將本體論的要素綜合無論是西方還是蘇聯(lián)的方法，都是第二次世界大戰(zhàn)后安德烈·巴贊和齊格弗里德·克拉考爾的現(xiàn)實主義理論所表達的許多主題。專門針對第二次世界大戰(zhàn)后現(xiàn)實主義理論家的章節(jié)指出，巴贊和克拉考爾的電影本體論方法與蘇聯(lián)方法和貝拉·巴拉茲的方法不同，主要在于它拒絕將電影作為意識形態(tài)傳播工具。

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  • 作者

    KATZ, DAVID ROBERT.;

  • 作者單位

    The University of Wisconsin - Madison.;

  • 授予單位 The University of Wisconsin - Madison.;
  • 學科 Cinema.
  • 學位 Ph.D.
  • 年度 1986
  • 頁碼 350 p.
  • 總頁數(shù) 350
  • 原文格式 PDF
  • 正文語種 eng
  • 中圖分類
  • 關鍵詞

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