侯孝賢研究書目 HHH
< BACK
 
電影與人文精神
  作者 鄭培凱
  出版年 1996
  文獻出處 鄭培凱。《通識教育》。1996,第3卷4期,頁81-96。
  語言 繁體中文
  關鍵詞 電影、人文精神
  相關網址
  網址描述
  全文網址
  影音網址
  摘要 文共分為五部份:第一部份探討電影作為藝術,有其人文的關懷。並指出,電影史上的經典之作,一般可分為三種:藝術手法創新的、對人生處境深刻探索的、及合併兩類而能雅俗共賞的,然而究其根本,都是對文化創造進行人文思考。第二部份敘述作者本人使用電影教學的經驗與感想,先是使用記錄片來
呈現歷史影像,後來則對故事片產生更強烈的興趣。第三部份則以具體的範例,袁牧之的《馬路天使》(1937)及侯孝賢的《戲夢人生》(1993),來探討電影藝術家如何呈現他們所感受的人生經驗,如何探索人生意義,如何拓展藝術想像的空間。第四部份討論歷史研究對電影開始注意,並有些重要著作已經對電影與文化的關係,進行了理論的探討。然而,這些探討對"歷史片"的重視較多,卻不曾對非歷史題材的影片進行文化思考。結論部份,作者重申電影的人文關懷及廣大的社會人文基礎,並強調在教學研究上要拓展視野,用長遠廣大的歷史文化觀點,思考電影藝術的成就。
The article starts with a discourse on cinema as art and as cinematicreflections of cultural concerns. It discusses three categories of cinematiccanons (those exploring into new visual revelations, those providing
culturalcritiques and those combining both while exploiting commercial interests)and argues that some Hollywood big productions should also be taken seriously for their accomplishments in both artistic expression and cultural reflection. The most important issue under discussion is the creative urge with humanistic concerns.
The article then deals with the relationship between cinema andhistory, between artistic expression and cultural creation, and between filmmaker''s individual visions and a society''s collective consciousness. Toillustrate the convoluted relationship, it
relates my own experience of using documentaries and feature films to teach modern Chinese history sinces 1978, resulting in unexpected enthusiams among students to question theissue of "historical truth". Particularly rewarding of this teaching experienceis the development of my interest in two interrelated inquiries: 1) how canfictional reality represent real historical realities and why? 2) why do we penetrating historical sense and spirit more in feature films than
in documentaries? The third part of the article uses Yuan Muzhi''s Street Angels (1937) and Hou Hsiao-hsien''s Puppetmaster (1993) to illustrate how Chinese cinematicart represents the changing visual consciousness of modern Chinese mind.
Through innovative and often experimental audio-visual presentations in the former, modern metropolitan life experiences are demonstrated, revealing sensibilities never before explored through writings. In the latter case,traditional folk theatre and meticulously punctuated human interactions areencapsuled in deliberately slow-paced long shots, unfolding a detemined search for experiential meaning in the
lost past. History and culture are thus understood in various texts and contexts, while humanistic concerns aboutthe future construction of historical consciousness and cultural discourseare of primary importance.
The fourth part discusses how social and cultural historians approachthis new frontier of historical research. It analyzes Marc Ferro''s seminal ideas in Cinema et Histoire. first published in 1977 and then revised and expanded in a 1988 English version.
Pierre Sorlin''s The Film in History:Restaging the Past and Robert A. Rosenstone''s Visions of the Past: TheCJiallenge of Film to Our Idea of History are also discussed in the context of expanding historical consciousness among practicing historians.
The historians exploring into film studies naturally concentrate on "hitorical films"and limit their discourse to "historical representation" through conventionally defined historical subjects, such as Russian Revolution and biography ofJFK.
The conclusion reiterates the close connection between filmmakers''humanistic concerns and their artistic endeavors. Art is not totally independent from other human activities, and artistic creation is the culmination of interrelated cultural forces through
one''s individual creative process. Conversely, through the study of films, documentaries or feature movies, we are also able to detect the spirit of human
aspirations and activities.
  備註  
  相關作品
 
地址:中壢市中大路300號文學院一館A102室 電話:(03) 422-7151轉 33209 傳真:(03) 280-7073
國立中央大學電影文化研究室 版權所有 ©2007 FSC& English Department at NCU . 瀏覽人數:1,223,543 人