视觉文化语境下电影文学关系

1、-. z. . . . word . . 视觉文化语境下的电影与文学的关系人们把电影和其它艺术进展类比的过程中，挖掘出了其它艺术的特性在电影中的具体表达。如欧洲先锋电影运动的代表人物阿倍尔甘斯曾说，电影“应当是音乐，由许多互相冲击、彼此寻求着心灵的结晶体以及由视觉上的和谐、静默本身的特质所形成的音乐；它在构图上应当是绘画和雕塑；它在构造上和剪裁上应当是建筑；它应当是诗，由扑向人和物体的灵魂的梦幻的旋风构成的诗，它应当是舞蹈，由那种与心灵交流的、使你的心灵出来和画中的演员融为一体的在节奏所形成的舞蹈。通过这段话我们可以得出，电影成为了诸多艺术的混合体。文学作为电影存在的前提，以至于有人称文学是电

2、影的母体。电影回归自身的过程本身同时也是电影与文学的融合、交流过程。在电子媒介一统天下的今天，电影与文学的融合代替了疏离，或者从文学的角度说，它走进了电影。可见，二者的交流也必然会促进其共同开展。 The process of analogy movies and other art, dig out the specific embodiment of the characteristics of other art in the film. As the representatives of European avant-garde film movement, Pell Gans sai

3、d, should be the film music, posed of many conflicting each other, looking for the spiritual crystals as well as by the visual harmony, trait silence itself formed by the music; it shall be in the position is painting and sculpture; it is the construction of the the structure and tailoring should; i

4、t should be posed of poetry, on people and objects of the soul dream of the cyclone s poem, it should be dancing, formed by the kind and the mind e*change, makes your heart out and the actor . Inner rhythms. Through it we can draw, film has bee a mi*ture of many art. Literature as a premise of the m

5、ovie there, so called literature is the movie matri*. The film return to its own process itself is also a fusion, film and literature munication process. In the electronic media fusion rule all the land today, film and literature instead of alienation, or from the literary point of view, it went int

6、o the movie. Visible, the two e*changes also will promote the mon development.二、文学与电影的表达差异 Differential e*pression of two, literature and film作为与电影相抗衡的一方被抬出来的文学与电影相比，电影以其强烈的视觉表达效果，取得了较于文学的真实感。文学的短处可能就是文学之所以是文学理由所在，即在于文学的媒介文字。由文字组成的句子具备了电影所不具备的逻辑秩序；而且其时态指明了其与表述对象的距离所在，文学这种表达形式是电影所不具备的，电影则是用其逼真的形象来表达生

7、活的。就文字来说，它处于人们的日常生活之中，作为一种形式而存在并得到长足的开展。社会生活催生了文学形式的出现与形成，在这一点上它保证了文学容的独立。人们通过对文学形式的关注更加深刻地认识到文学是区别于现实的，是现实的反映，融合而又独立与现实，是一种矛盾的综合体。即使是推崇所谓的客观再现的现实主义文学，也无法诠释这一疏离。现实主义以其独特的文学修辞手法论证了文学不可能是，也永远成不了一台摄像机的事实。 As pared to contend with the film will be carried out of the literature and film, film the effect

8、of e*pression with its strong visual, made sense of reality to literature. Literature is literature is literature weaknesses likely reason, that is the media of literature - te*t. Formed by the te*t sentence with the logical order of movies do not have; and the tense indicates the and representation

9、 of the object distance, the literature of this form of e*pression is the movie doesnt have, the movie is its vivid image to e*press life. On the te*t, it is in the daily life of people, as a form of e*istence and development. Social life gave birth to the emergence of literary form and formation, i

10、t ensures that the content of literature independence. People more deeply aware of literature is different from the reality through the form of literature, is a reflection of reality, fusion and independence and reality, is a contradiction of the ple*. Even highly objective representation of the so-

11、called realism literature, also cant e*plain this alienation. Realism is the unique literary rhetoric of literature is not possible, it will never be a camera facts.美国社会学家戴维里斯曼在20世纪50年代所写的?孤独的人群?中，提出了表达社会权威的三种引导形式。即传统引导、在引导和他人引导三种形式，这三种方式分别对应一种社会形态。今天我们生活在“他人引导的社会，这与“在引导有着本质的不同。在引导的人的人群有其不同于其他引导方式的做

12、人原则和人格标准，但是他们又是痛苦的，因为其处于一种不知对错，或者不知对何为其对的境界之中，他们是孤独的，感觉到了其所处的人生的不快，时常感觉到莫名的孤独感。将里斯曼的“引导与电影和文学对承受者造成的不同效果联系起来看，电影则会偏于“他人引导， 如上所述，可见“他人引导是不利于个人开展和社会进步的。文学作为一种表达垃圾中转站“在引导的书写，其功能就是促进社会缔结，形成和谐的局面，这也是那些扞卫文学主导地位人们的初衷所在。American sociologist David Risman wrote in the nineteen fifties of the lonely crowd , pu

13、t forward three kinds of leading form of social authority of the. Traditional guidance, internal guidance and the guidance of another three kinds of forms, the three methods correspond to a social form. Today we live in the guidance of another society, this inner guidance is essentially different. T

14、he inner guide people have principles and personality which is different from other standards to guide the way, but they are painful, because it is in a kind of do not know right from wrong, or do not know about what is the realm, they are lonely, feel the life unpleasant, often feel that sense of l

15、oneliness. Lismans guide and the film and literature have different effect on the recipient bination, movies tend to be others guidance , as mentioned above, the visible others guidance is not conducive to personal development and social progress. Literature as a kind of inner guide writing, its fun

16、ction is to promote the society concludes, form the harmonious situation, this also is those who defend literature dominated peoples original intention.三、文学与电影的感觉差异 Feel the difference between the three, literature and film距离在文学中就是指欣赏者与其对象之间的感觉距离，并且这种存在之美是永恒的，或者说永恒之美就在于距离。什克洛夫斯基的“陌生化就是强调距离对于文学永恒的重要性

17、，距离是美之所在，在距离之外，或许一切都是飘渺的。“艺术旨在使人感觉到事物，而非仅仅知道事物。快速升柱器艺术的技巧乃是使对象陌生化，使形式变得难于把握，增加感觉的难度和时间长度，因为感觉过程本身既是审美的目的，必须设法延长。电影以其逼真形象来表达生活，而文学之美，则美在含蓄，它以一种只可意会而不可言传的意境去诠释生活，借助文字、千变万化的修辞方式，将确定的对象又不确定的摆放在人们的面前，而这种意境与存在，需要读者的探索、感知，由于每个读者的认知能力是有限的，因此出现在每个人面前的将是形色各异的同一形象。正是这种适宜的不确定性将催生出读者探索式的审美快感。可以得出，超越生活现实批判沉淀之下的存在

18、，就是距离产生之美。虽然电影自身就是一种客观存在的形式，但是其声色之美，形象之真都决定了它不可能具有文学的含蓄之韵。在视觉文化的冲击之下，文学安身立命的生存之道或许有所动摇，而它不可能也永远不会对文学的想象和真实的互动取而代之，这也是文学生命力之所在，同时这也正是文学在视觉文化的影响之下固保其真质的关节所在。 Distance in the literature is that its object of appreciation feeling of distance, and the e*istence of beauty is eternal, or the eternal beauty

19、 lies in the distance. Shklovskys strange is to emphasize the importance of distance for the eternal literary, distance is the beauty, in the distance, perhaps everything is illusory. Art is to make people feel things, rather than just know things. Art is the object of defamiliarization, the form be

20、es difficult to grasp, increase the length of difficulty and the time feeling, because the feeling process itself is not only aesthetic purposes, must try to e*tend. The film with its vivid image to e*press life, and literary beauty, the beauty, which a can can only be and can only be sensed imagery

21、 interpretation of life, with the help of rhetorical te*t, the myriads of changes, will determine the object and uncertain placed in front of people, and this kind of artistic conception and e*istence, need the reader e*ploration, perception, because each readers cognitive ability is limited, theref

22、ore appear in front of everyone is the same image of various. It is this feasible uncertainty will produce readers to e*plore aesthetic pleasure. Can be drawn, beyond the life under the realistic criticism precipitation e*ists, is the distance produce beauty. Although the film itself is a kind of ob

23、jective e*istence form, but its sensual beauty, image really decided it may not have the implicit prosody literature. Under the influence of visual culture, literature and their survival may be shaken, and it is not possible to never to literary imagination and true interactive replace sb., this is also the vitality of literature, at the same time, this is the literature on the impact of visual culture under the fi*ed it really matter where the joint.四、结