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电影理论研究 ›› 2026, Vol. 8 ›› Issue (28): 103-114.

• 国际视域 • 上一篇    

中国艺术与爱森斯坦的电影综合论——以《并非冷漠的大自然》《电影通史札记》为中心

  

  1. 西安建筑科技大学讲师
  • 出版日期:2026-09-10 发布日期:2026-10-28

  • Online:2026-09-10 Published:2026-10-28

摘要：

蒙太奇理论已为谢尔盖·爱森斯坦确立了一种经典形象，而《并非冷漠的大自然》《电影通史札记》等后期文稿显示，晚期爱森斯坦更关心的是电影在全部艺术史和媒介史中的位置。在这一理论视野中，电影史并非单纯以卢米埃尔兄弟、爱迪生和电影技术发明为起点，而是在酒神仪式、绘画、音乐、皮影、木偶、戏曲等跨媒介谱系中生成的综合艺术。中国绘画和道家思想为爱森斯坦提供了艺术有机体想象的范本，使其把电影理解为能够重组诸艺术潜能、组织群众感知并构建社会远景的现代感知形式。

关键词: 电影综合论, 爱森斯坦, 中国艺术, 媒介考古学

Abstract:

Although montage theory established Sergei M. Eisenstein as one of the central figures of classical film theory, his later writings—particularly Nonindifferent Nature and Notes for a General History of Cinema—shift attention from montage to cinema’s place within the broader histories of art and media. From this perspective, the history of cinema does not begin with the Lumière brothers, Thomas Edison, or the invention of cinematic technology. Rather, cinema emerges as a synthetic art whose genealogy extends across diverse artistic and cultural practices, including Dionysian ritual, painting, music, shadow theatre, puppetry, and drama. Within this intellectual framework, Chinese painting and Daoist philosophy provided Eisenstein with a model of organic artistic form, enabling him to conceive of cinema as a modern sensory medium capable of synthesizing the expressive potentialities of multiple arts, reorganizing collective perception, and constructing a social totality.

Key words: cinematic synthesis, Eisenstein, total cinema, media archaeology