如果说,影视评论要以研究“人”为中心的话,那么,“人”的艺术形象是在画面、镜头的运动变化中展现的,这就需要我们以画面和镜头的研究为基础。缺乏这种基础的研究,往往会使评论流于空泛,这的确是许多影视评论,包括我的若干评论的通病。为什么要如此重视和强调对画面、镜头变化的研究呢? 我以为这和影视艺术的本体、本性和构成方式有关。不妨先从电影艺术的演变史、发展史来作一番粗 If we say that film and television criticism should focus on the study of “human beings,” then the artistic image of “human beings” is manifested in the changes of the images and the movements of the lenses. This requires us to base our research on images and lenses. Lack of such basic research tends to make comments empty, which is indeed a common problem in many film reviews, including some of my comments. Why should so emphasis and emphasis on the study of the screen, the lens changes? I think this and film and television art ontology, nature and composition of the way. May wish to start from the evolution of film art history, history to make some rough