ABSTRACT

Over the past two decades, film scholarship has experienced a renewed interest in the theory of André Bazin. This French film critic is most commonly quoted regarding the ontological basis of realism, prompting some highly varied – and sometimes unexpected – readings of his most renowned essay, ‘The Ontology of the Photographic Image’. Of course, it is no mere accident that he chose this ontological study as the opening text for Qu’est-ce que le cinéma? However, as I will argue, what Bazin classified as ‘true realism’ relates to aesthetics and encompasses different elements present in film: (1) the ontology of the image; (2) the style of film language; and (3) the veritative level (aesthetic truth or ‘deep meaning’). The aim of this paper is to provide a definition of these three levels of realism. Special attention will be given to the third and least explored of the three, the veritative, which, as this level has hitherto received little scholarly attention, constitutes the most original contribution of this article to studies of Bazinian theory.

摘要

在过去的二十年里，电影学术界对安德烈·巴赞的理论重新产生了兴趣。这位法国电影评论家最常引用关于现实主义的本体论基础的言论，这促使人们对他最著名的文章《摄影图像的本体论》进行了一些高度多样化——有时甚至是出乎意料的解读。当然，他选择这种本体论研究作为电影《电影》的开场白绝非偶然？然而，正如我将要论证的那样，巴赞归类为“真正的现实主义”的东西与美学有关，并且包含了电影中存在的不同元素：（1）图像的本体；(2)电影语言的风格；(3)真实的水平（审美真理或“深层意义”）。本文的目的是提供这三个现实主义水平的定义。将特别关注三者中探索最少的第三者，即真实性，由于这一层面迄今为止很少受到学术关注，因此构成了本文对巴齐尼理论研究的最原始贡献。