Cinema Approaching Reality (original) (raw)
内容简介 · · · · · ·
In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through the 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best un...
In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through the 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best understood as “approaching reality.” What these Chinese theorists mean, in Fan’s reading, is that the cinematographic image is not a form of total reality, but it can allow spectators to apprehend an effect as though they had been there at the time when an event actually happened.
Fan suggests that the phrase “approaching reality” can help to renegotiate an aporia (blind spot) that influential French film critic André Bazin wrestled with: the cinematographic image is a trace of reality, yet reality is absent in the cinematographic image, and the cinema makes present this absence as it reactivates the passage of time. Fan enriches Bazinian cinematic ontology with discussions on cinematic reality in Republican China and colonial Hong Kong, putting Western theorists—from Bazin and Kracauer to Baudrillard, Agamben, and Deleuze—into dialogue with their Chinese counterparts. The result is an eye-opening exploration of the potentialities in approaching cinema anew, especially in the photographic materiality following its digital turn.
作者简介 · · · · · ·
Victor Fan is lecturer in film studies at King’s College London. He has contributed extensively to academic journals, including Screen, Film History, and Camera Obscura.
目录 · · · · · ·
Contents
Acknowledgments
Note on Transliteration
Introduction
1. Approaching Reality: Chinese Ontology and the Potentiality of Time
2. Cinema of Thought: Directed Consciousness in Chinese Marxist Film Theory
· · · · · · (更多)
Contents
Acknowledgments
Note on Transliteration
Introduction
1. Approaching Reality: Chinese Ontology and the Potentiality of Time
2. Cinema of Thought: Directed Consciousness in Chinese Marxist Film Theory
3. Soft Film Theory: Life in All Its Presence and Concreteness
4. Fey Mou: The Presence of an Absence
5. Cinema of Ideation, Cinema of Play: The Early Cantonese Sound Film
Conclusion
Notes
Filmography
Index
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0 有用 细林 2022-02-18 07:04:57
Chapter 2 Marxist film theory understood as “a complex set of philosophical and conceptual inventions and an intricate cross cultural dialogue”; 新生活运动与新女性；yishi as super sign; approaching reality inst... Chapter 2 Marxist film theory understood as “a complex set of philosophical and conceptual inventions and an intricate cross cultural dialogue”; 新生活运动与新女性；yishi as super sign; approaching reality instead of describing reality, cinema as ideological work to “construct an illusion of reality” (展开)
An audacious attempt venturing between Chinese and western theorization of film ontology and the idea of reality. Balancing the historical and theoretical aspects well. If we really want to criticize:... An audacious attempt venturing between Chinese and western theorization of film ontology and the idea of reality. Balancing the historical and theoretical aspects well. If we really want to criticize: the bridge between the western and eastern theories could be arbitrary at some moments of the book. (展开)
0 有用 荷西厌饮 2021-02-12 08:37:03
上世纪前中期的中国电影理论与欧美电影理论的对话，极力避免了某些欧美学者有的cultural essentialism的倾向，但有些讲法的确还是有点硬拗…标题的“逼真”起得不错（虽然大概算不得什么中国哲学术语？），聚焦到影像和现实的关系，以及回应了巴赞的电影本体论，中间有很多是讲影像在幻象与现实的中间liminal space怎么与观者互动的（又回到apparatus theory和affect t... 上世纪前中期的中国电影理论与欧美电影理论的对话，极力避免了某些欧美学者有的cultural essentialism的倾向，但有些讲法的确还是有点硬拗…标题的“逼真”起得不错（虽然大概算不得什么中国哲学术语？），聚焦到影像和现实的关系，以及回应了巴赞的电影本体论，中间有很多是讲影像在幻象与现实的中间liminal space怎么与观者互动的（又回到apparatus theory和affect theory），但加入“人生”和“人生”如何在时间中reactivated这些概念以后又有点模糊了。个人对数码影像是否能像作者说的那样彻底地改变人类感知时间感存疑，感觉需要更多技术知识和影像实例来佐证这个挺fancy的论点。其实media archaeology在这里就会有很多发挥空间？期待阅读更多。 (展开)
0 有用 岩倉雙葉🇮🇱 2023-05-06 06:43:18 英国
Victor Fan又何尝不是电影学版的许煜，本书和《论中国的技术问题》同一思路，通过东西方理论的对比研究中抽离某种异于西方的新范式，但对于中国而言（1949年前的所谓“早期中国电影”）没有理论史，只有评论史。“逼真”是其中一个思路，作为电影与现实的关系，以及其潜质的本体论探讨，这一点又同构于其师达德利·安德鲁的Opening Bazin，重拾钟大丰，陈犀禾误读的部分。Fan对于理论思辨的功底十分... Victor Fan又何尝不是电影学版的许煜，本书和《论中国的技术问题》同一思路，通过东西方理论的对比研究中抽离某种异于西方的新范式，但对于中国而言（1949年前的所谓“早期中国电影”）没有理论史，只有评论史。“逼真”是其中一个思路，作为电影与现实的关系，以及其潜质的本体论探讨，这一点又同构于其师达德利·安德鲁的Opening Bazin，重拾钟大丰，陈犀禾误读的部分。Fan对于理论思辨的功底十分扎实，特别是软性电影一章，通过将其与王国维的佛教-康德主义，以及柏格森-德勒兹-西蒙栋内在性，前个体概念进行对比读解，补完了相关学术研究的空缺，结尾将这些理论置于数字影像的语境之下，也与此同时暗示了其下一部著作通过佛教探讨电影哲学的主题，但这里佛教的观念还在某种程度上带有施拉德超验神学的影子。 (展开)
Cinema Approaching Reality的书评 · · · · · ·( 全部 2 条 )
想本雅明迟了迟 2019-03-27 08:53:08
一張圖告訴你這本書有多扯淡
作者講“逼真”嘛，非常好，亦可賽艇！ 於是在第33頁，出現了這一段話： 哎喲餵，還懂藝術史哪！還批評 mimesis 哪！不錯，去看看這個 Wen C. Fong 怎麼寫 “逼真” 的吧。 又於是，在 Fong 的論文里，我們找到了這句話： 我滴媽呀！！！人家 Fong 同志講的 Lady Wei 衛夫人的... (展开)
文依 2017-07-07 19:19:41
1920s -1940s 中国‘逼真’ 的电影理论
这篇书评可能有关键情节透露
不太清楚应该如何翻译reality这个词，所以按照作者在书中的说明，就叫他‘逼真’的。而我还是觉得直接叫reality更方便。 这本书是以中国电影理论对reality的探索为主线，探讨了1920-1940这段时期的中国电影理论。 第一章中，作者论述了中国与西方电影本体论的区别。西方在real... (展开)
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