从形式主义到类型研究六十年代中期,当代电影理论占据优势以后,不仅带来了探讨电影的新途径,而且带来了应予重视评价的新的影片种类以及从根本上应该怎样评价影片的全新的道理。如果想要衡量从五十年代的人本主义到当今的后结构主义之间的距离,最好的办法是看看我们对各种影片的态度,以及对任何一部既定影片所谓兴趣和力量源泉所在的态度所产生的变化。在本章中我们将观察人们从电影中所领悟到的价值,如何从它的创造性和艺术转移到意识形态和系统。在美国,电影理论是在冠以形式主义商标的“新批评派”的一统天下中成长起来的;而在欧洲,电影理论则打着第一结构主义的招牌。这两种探究体系的共同点是把注意力严格地界定在作为客体的艺术作品上。它们对这一客体的分类和功能的观念也许彼此不同,但在实践中两种体系都排除了不能推进对具体作品的符号学构成 From Formalism to Type Research After the prevalence of contemporary cinema theory came to the fore in the mid-1960s, not only did new ways of exploring cinema be brought about, but new types of films that deserved to be valued and how to evaluate films at all Brand new truth. The best way to measure the distance between humanism in the 1950s and post-structuralism today is to look at our attitudes toward various films and the so-called sources of interest and power in any given movie The attitude of the change. In this chapter we will look at how the value people realize from the cinema evolved from its creativity and art to ideology and system. In the United States, the theory of cinema grew up in a world dominated by the “new critics” marring the formalist mark; in Europe, the theory of cinema, on the other hand, marked the first structuralist signboard. What these two types of inquiry systems have in common is to focus their attention strictly on the work of art as the object. Their concept of classification and function of this object may differ from each other, but in practice both systems preclude the possibility of advancing the semiotic construction of a particular work