Variations and Reversions: Initial Exploration of Chinese Tradition and Modernization in Time-Space Images

TY - GEN

T1 - 变奏与缝合：时空影像的中国传统与现代化初探

AU - 陈璐, null

AU - 谢蕊, null

PY - 2021/9

Y1 - 2021/9

N2 - 时空合一”的二维线性叙事是中国国产电影长期以来的主要创作路径，然而当我们从时空观念解构、变奏、拼贴的角度仔细爬梳早期至今的影视作品，亦能找到许多优秀示范。本文通过对中国佛、道思想，艺术传统以及民俗审美追求进行回顾和梳理，探寻中国影视文化中关于“时空变奏”、“时空缝合”的丰富源泉，去考察中国的影像实践是如何把民族性的时空观念注入现代电影语言之中。并以德勒兹“时间－影像”哲学为基础，解构时间、空间的统一关系，创新性地提出异化的时空观念在影像中两方面的现代性使用。一方面，以时空的变形作为外化的叙事设定，突破了二维线性的手法，体现了中国由“梦之幻象”建构的虚实相交时空想象。另一方面，作为内化的叙事机能组成部分和叙事符号，时空以“幽灵”的形式居于影像之中，服务于叙事效果，成为德勒兹所言的“时间－晶体”和“潜在影像”，回应了中国传统中“以心观物”、“大象无形”的美学哲思。The multi-dimensional exploration of the concept of time-space goes hand in hand with the modernization of cinematic language. While the linear narrative of "time and space" has long been the main creative path of Chinese domestic cinema, when we look at the application of the deconstruction, variation and collage of the concept of time and space in the image, we can also find many outstanding examples. Through a review of Chinese Buddhism, Taoism, Confucianism, folklore and historical traditions, as well as artistic canons, this paper explores the rich sources of "temporal variation" and "temporal reversions" in Chinese film and television to investigate how Chinese filmmaking practices have infused ethnic notions of time and space into modern cinematic language. Based on Deleuze's "time-image" philosophy, this paper deconstructs the unified relationship between time and space, and innovatively proposes the use of modern notions of time and space in two directions in filmmaking. On the one hand, the use of temporal distortion as an externalised narrative setting breaks away from the linear approach that audiences are used to, and embodies the imaginary of time-space constructed by the "dream-vision" in China, where reality and imagination are intertwined. On the other hand, as an internalised part of the narrative function and a narrative symbol, time-space resides in the image in the form of a 'ghost', serving the narrative purpose and becoming what Deleuze calls a "time-crystal" and a "virtual image". This is a response to the traditional Chinese aesthetic philosophy of "viewing things from the heart" and "the great form is beyond shape".

AB - 时空合一”的二维线性叙事是中国国产电影长期以来的主要创作路径，然而当我们从时空观念解构、变奏、拼贴的角度仔细爬梳早期至今的影视作品，亦能找到许多优秀示范。本文通过对中国佛、道思想，艺术传统以及民俗审美追求进行回顾和梳理，探寻中国影视文化中关于“时空变奏”、“时空缝合”的丰富源泉，去考察中国的影像实践是如何把民族性的时空观念注入现代电影语言之中。并以德勒兹“时间－影像”哲学为基础，解构时间、空间的统一关系，创新性地提出异化的时空观念在影像中两方面的现代性使用。一方面，以时空的变形作为外化的叙事设定，突破了二维线性的手法，体现了中国由“梦之幻象”建构的虚实相交时空想象。另一方面，作为内化的叙事机能组成部分和叙事符号，时空以“幽灵”的形式居于影像之中，服务于叙事效果，成为德勒兹所言的“时间－晶体”和“潜在影像”，回应了中国传统中“以心观物”、“大象无形”的美学哲思。The multi-dimensional exploration of the concept of time-space goes hand in hand with the modernization of cinematic language. While the linear narrative of "time and space" has long been the main creative path of Chinese domestic cinema, when we look at the application of the deconstruction, variation and collage of the concept of time and space in the image, we can also find many outstanding examples. Through a review of Chinese Buddhism, Taoism, Confucianism, folklore and historical traditions, as well as artistic canons, this paper explores the rich sources of "temporal variation" and "temporal reversions" in Chinese film and television to investigate how Chinese filmmaking practices have infused ethnic notions of time and space into modern cinematic language. Based on Deleuze's "time-image" philosophy, this paper deconstructs the unified relationship between time and space, and innovatively proposes the use of modern notions of time and space in two directions in filmmaking. On the one hand, the use of temporal distortion as an externalised narrative setting breaks away from the linear approach that audiences are used to, and embodies the imaginary of time-space constructed by the "dream-vision" in China, where reality and imagination are intertwined. On the other hand, as an internalised part of the narrative function and a narrative symbol, time-space resides in the image in the form of a 'ghost', serving the narrative purpose and becoming what Deleuze calls a "time-crystal" and a "virtual image". This is a response to the traditional Chinese aesthetic philosophy of "viewing things from the heart" and "the great form is beyond shape".

KW - 国产电影

KW - 时空观念

KW - 时间－影像

KW - 中国传统

KW - 电影现代化

KW - Chinese films

KW - time and space

KW - time-image

KW - Chinese traditions

KW - modernization

M3 - Conference proceeding

SP - 109

EP - 121

BT - 2022北京大学艺术学国际博士生学术论坛论文集

PB - 北京大学

T2 - 2022北京大学艺术学国际博士生学术论坛

Y2 - 2 September 2022 through 4 September 2022

ER -