摘要： “中层（碎片）理论”是波德维尔和卡罗尔在《后理论：重建电影研究》中的理论追求。波德维尔对中国电影诗学的研究可以作为透视其“中层理论”的一面镜子。他从中国香港大众电影中提取出“动作美学”，并以此为“娱乐的艺术”正名；他还分析了侯孝贤在克服电影制作的各种外部限制因素过程中，是如何将不得已采取的拍摄“技艺”转化为“诗性”“抒情性”以及关注日常的现实主义风格的“美学上的优势”。不过，波德维尔毕竟是以西方“鬼佬”视角来审视中国电影的，加上他与“宏大理论”的有意对抗，导致他的中国电影诗学分析存在较大的局限。
关键词:
波德维尔,
后理论,
中国电影诗学,
中层（碎片）理论
Abstract:
“Middle level (fragment) theory” is the theoretical pursuit of Bordwell and Carroll in the
“reconstruction of film theory of post theory”. Bordwell ’s study of Chinese film poetics can be regarded
as a mirror to see through his “middle-level theory”. “Aesthetics in action” raised by him is based on Hong
Kong popular film such as Kung Fu film, swordsmen film, action film and cops-and-robbers action film. In
addition, he found the Hong Kong popular film featuring “the spectacularization of movements of the body“”, the
maximization of the action’s legibility”, “pause/burst/pause” and “motion emotion”. However, Bordwell,
examines Chinese films from the perspective of Westerners, and his intentional confrontation with “grand
theory”, which makes his analysis of Chinese film poetics have greater limitations.
Key words:
David Bordwell,
post-theory,
poetics of Chinese film,
middle level (fragment) theory
陈瑜. “后理论”的洞见与局限——以波德维尔中国电影诗学为中心的讨论[J]. 探索与争鸣, 2019(12): 74-83.
Chen Yu. The Insight and Limitation of “Post Theory”：The Research on the Poetics of Chinese Film
Carried by David Bordwell[J]. Exploration and Free Views, 2019(12): 74-83.