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曾经有学者谈到:如果说文字等符号直接地作用于人的社会性“自我”,那么电影中的影像就更直接地与人的生物性“本我”相联系。将性、暴力和笑作为以美国为代表的常规商业电影最基本的审美愉悦机制的观点已得到了世人的公认。而从商业电影诞生之初,暴力审美机制就成为电影观赏中的固有机制。在常规商业影片中,这一机制是通过介入尖锐的戏剧冲突,并借助一套伦理化的修辞策略来运作的。即以一种正义对非正义,人道对非人道的冲突来
There have been scholars who have said that if symbols such as words directly affect a person’s social “self,” then the images in the movie are more directly linked to the biological “self” of the person. The idea that sex, violence and laughter are the most basic aesthetic pleasure mechanisms of conventional commercial films represented by the United States has been recognized by the world. From the beginning of the commercial movie, the aesthetic mechanism of violence has become the inherent mechanism of movie watching. In conventional commercial films, this mechanism works by engaging in sharp theater clashes and using a set of ethical rhetorical strategies. That is, to a just and unjust, humane and inhuman conflict