【作者】 汪振城；

【导师】 贾磊磊；

【作者基本信息】 南京艺术学院 ， 电影学， 2014， 博士

【摘要】 影像身体的探讨曾是西方经典电影理论的重要内容,也是巴尔特、德勒兹等当代理论家们以及电影现象学思潮所关注的理论问题之一。但这条理论线索已被现代电影理论所遮蔽。本文在对西方经典电影理论和当代理论中相关电影身体话语进行现象学美学的重新解读的基础上，从身体现象学和电影美学的双重视野出发，对电影空间中出现的各种身体现象，尤其是电影空间中影像身体的美学建构及其意义生成等问题进行分析和探讨，并指出：在银幕文本空间中，影像身体的建构是电影创作的基石，它不仅是影片人物塑造的基础，也是建构影片故事、推动叙事发展的重要因素。影像身体的建构一方面要体现出电影创作美学的内在诉求，创作者们一般要遵循电影美学特性，拿捏好身体形象之电影化“匹配”与艺术化“间离”的相互关系；另一方面还应符合接受美学意义上的消费美学原则，赋予影像身体形象以典型性、时尚性以及当下的匹配性，体现出消费意识形态的审美诉求。影院的“观影空间”是一种身体现象学意义上的“体感空间”，在这一空间（乃至“电影空间”）中，影像身体获得了一种类似于“电影脸”的特性，它犹如一张“间脸”(inter-face)，是一种“间身体”(inter-body)。因此，在影片文本系统中，影像身体作为一种特殊的子文本，它具有一种蕴含“主体间性”的“间身体”的互文本特性。正是电影空间中影像身体的存在诱发了观影者的“体感触动”，进而促成了影像身体意义（乃至电影经验）的生成。更多还原

【Abstract】 The exploration of image body was an important aspect of western classic filmtheory, and also theoretic issues concerned by contemporary theorists like Barthes and Deleuze aswell as film phenomenon theory. However, this line of theory has been covered by Modern filmtheory. Therefore, this dissertation, based on the interpretation of film body discourse in westernclassic film theory and modern theory from the perspective of phenomenon and aesthetics, focuseson the exploration of the various body phenomena in film space, and in particular their aestheticconstruction and sense-making devices. It also points out that the construction image body is acornerstone of film creation in screen space, which is not only a base of figure creation, but also animportant factor of film story construction and narrative development. on the one hand, theconstruction of image body give expression to appeal of film creation aesthetics, film framershandle well the relations of “matching” and “alienation”; on the other hand, the construction ofimage body accord with expression of aesthetics reception, give the typicality, fashionability,immediately matching of image body, and give expression to appeal of consumption ideology. Theviewing space at cinema is a “tactile space” in a sense of body phenomenon, where image bodyowns the characteristic of “film face”, as if an “inter-face” in “inter-body”. In the system of film text,film body as a special sub-text has a feature of inter-textuality of inter-body in “inter-subjectivity”.In cinema space, it is the existence of image body that arouses a viewer’s “embodied haptic”, andpromotes the sense-making of image body (film experience).更多还原