Throughout the 20^th century, Western society increasingly substituted the absolute for the particular, certainty for relativism, and religious and metaphysical dogmas for a widespread philosophical scepticism. In a progressively industrial and mechanical society, human existence is no longer primarily explained through the postulation of an “unmoved mover”. Not God but the individual carries the sovereign power to draw upon his or her own freedom. With the traditional idea in mind of a post-war culture, based on anti-foundationalism and cultural criticism, it might come as a surprise that, as late as 1961, the French film critic and director Eric Rohmer (1961/1989) writes that cinema “possesses the truth right from the beginning and aims to make beauty its supreme end” (p. 75: emphasis added). Rohmer uses “truth”, “beauty” and, in other passages, “goodness” not in a particular way, but considers them to be absolute values. They are metaphysical categories constructing every human experience and cognition, both in lived reality and in the cinema that represents this reality. Surrounded by a postmodern society that substitutes the absolute for the particular, he raises the question whether the youngest of all forms of art can make the three classical transcendentals sensible, by virtue of its medium-specific neutrality. According to Rohmer, cinema can, and by its definition is a manifestation of the true, the beautiful and the good.

中文翻译：

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真、美与善：埃里克·侯麦电影理论中的自由与柏拉图式三合会

整个 20^世纪，西方社会越来越多地用绝对代替特殊，用确定代替相对主义，用宗教和形而上学的教条代替普遍的哲学怀疑论。在一个日益工业化和机械化的社会中，人类的存在不再主要通过“不动者”的假设来解释。不是上帝，而是个人拥有利用他或她自己的自由的至高无上的权力。考虑到战后文化的传统观念，基于反基础主义和文化批评，直到 1961 年，法国电影评论家和导演埃里克·罗默 (Eric Rohmer，1961/1989) 写道：电影“从一开始就拥有真理，旨在创造美其至高无上的目的”（第 75 页：已添加重点）。侯麦使用“真理”、“美”以及在其他段落中的“善”不是以特定方式使用，而是认为它们是绝对值。它们是形而上学的范畴，在生活现实和代表这种现实的电影中构建了每个人类的经验和认知。被一个以绝对代替特殊的后现代社会所包围，他提出了一个问题，即所有艺术形式中最年轻的艺术是否可以凭借其媒介特定的中立性而使三种经典的先验性变得有意义。按照侯麦的说法，电影可以，而且根据它的定义，它是真实、美丽和美好的体现。