第一届“未命名”诗电影研讨会

作者

  • 中 贺 作者
  • 晓渡 唐 作者
  • 献民 张 作者
  • 文东 敬 作者

关键词:

诗电影；电影诗学；蒙太奇；媒介转换；抒情限度

摘要

本文整理2025年7月13日在北京举行的第一届“未命名”诗电影研讨会，围绕诗电影的概念边界、媒介特性、历史谱系、创作方法、制度环境与未来可能展开多学科讨论。老贺以“未命名”保留概念的开放性，将诗人题材的纪录片、剧情片与以诗性结构组织影像的电影加以区分，并提出“用镜头写诗、用电影语言写诗”的创作方向。张献民从院线制度、电影法规、短片分类、学院机制和学术研究的角度，指出中国诗电影及创作性短片缺乏稳定的生产、统计、组织和理论支撑。唐晓渡从蒙太奇、现代诗和反讽的关系切入，分析诗人影像对日常生活、私人领域及精神疾病的呈现，认为这类作品通过揭秘与自我揭秘，消解诗人的崇高化和神秘化。敬文东则提出“抒情的限度”，警惕诗电影滑向滥情、自恋与煽情。朱文依据文学与电影的跨媒介经验指出，诗人能够为电影带来新的审美声音，但诗歌习气也可能成为电影创作的障碍；电影经过长期发展，已经形成不依附于文学诗歌的自身诗意。

朱其从电影史与当代艺术史出发，将相关作品区分为诗人传记片、诗人纪录片及严格意义上的诗电影，提出诗电影的两个核心条件：剪辑服从诗性逻辑，画面本身具有诗意或意象化特征。他以曼·雷、让·谷克多、乔纳斯·梅卡斯、帕拉杰诺夫、杜拉斯等人的作品为例，梳理先锋电影、超现实主义、散文电影与诗电影之间的关系。王超则从中国诗人与电影的历史联系出发，强调诗歌、文学和电影共享某种现代精神动力；在具体创作中，纪录片不能无条件服从拍摄对象，而应保留导演的判断、质疑和反思。

戴潍娜将诗电影理解为诗歌原初意识在影像时代生成的新形式，认为其尚未被学院体系、学术规范和文化工业彻底制度化的边缘状态，反而保存了自由生长和思想反抗的可能。她进一步将诗性思维与数据思维、工具化思维和人工智能生成模式相对照，强调诗电影在未来影像文化中可能具有的精神强度。孙萌从俄国形式主义、帕索里尼、维柯的“诗性智慧”、中国电影的写意传统及当代电影研究出发，重建诗性电影的理论谱系，并将其大致划分为三类：诗意构成整体结构的电影、诗意弥漫于故事和生命体验之中的电影，以及在叙事中嵌入诗化意象和抒情段落的电影。她认为，诗性电影的理想境界是由“自我”走向“无我”，并最终通向人与世界更自由的关联。

旺忘望从创作技术层面强调，诗意不能只存在于主题和观念中，而必须落实到摄影机运动、镜头时间、画面节奏及声画关系中；镜头本身应成为“看得见的诗”。丁建国则从思想史训练、审美标准与电影教育出发，批评华语电影中的自恋、自嗨和自我感动，认为诗电影未必需要被严格定义，重要的是建立基本的审美及格线。他以毕赣的创作说明哲学阅读、民族文化、诗歌经验和电影形式之间的深层联系。

江汀从媒介史角度讨论口语文化、印刷文明与电影机制的变化，提出诗电影可以包括关于诗人的电影、具有诗性结构的电影以及诗人执导的电影，三者之间可能相互交叉。陈家坪结合《孤儿》《诗人马雁》等个人创作，说明如何利用现实物象、象征性声音、梦境、主观镜头与非虚构素材再生产现实情感，并把风格视为诗电影的真正主体。黄元樱强调诗性的不可完全描述性，认为诗性具有不确定、未完成、暧昧、陌生和保持距离等特征，成熟的导演可以凭借长期积累，用电影自身的语言完成难以被逻辑概括的诗性表达。

研讨会后段进一步对“诗意”概念本身提出反思。王超引入德勒兹的“晶体时间”“块茎”“游牧思想”和“无器官的身体”，指出电影研究不应停留在帕索里尼或符号学阶段，也不应让“诗意”成为新的审美束缚；电影可能通过纯视听时刻、不可连续性和主体性的松动，超越传统诗歌的自我中心。孙萌以阿甘本意义上的弥赛亚时间回应这种“短路式”时间经验。殷子虚则提出更激进的判断：如果蒙太奇的跳跃性已经使电影和诗歌具有共同结构，那么“诗电影”或许是一个过时甚至虚设的概念，因为电影本身即具有诗的可能。

研讨会最终没有形成封闭定义。老贺在总结中区分“诗意”与“诗性”：诗意可以表现为抒情、浪漫，直至沉默和无言；诗性则更多体现为不依赖线性因果与完整上下文的语言结构和影像结构。诗电影的价值不在于获得唯一命名，而在于通过影像、声音、剪辑、节奏、断裂、空白、悖论与不确定性，持续生成电影媒介自身的诗性，并鼓励更多创作者展开尚未完成的实验。

##submission.authorBiographies##

  • 中 贺

    Lao He, whose legal name is He Zhong, is a poet and cultural curator. He began writing poetry in the late 1980s, founded the Caihuoche Cultural Salon in 2003 and the New Youth Annual Moving-Image Exhibition in 2010, and initiated the Poetry Film Showcase discussed at this symposium.

  • 晓渡 唐

    Tang Xiaodu is a poet, poetry critic, editor, and special research fellow at Peking University’s Research Center for New Poetry. He formerly worked as an editor at Poetry Periodical and as a senior editor at Writers Publishing House. His work has long centered on the criticism, study, and editing of contemporary Chinese poetry, particularly avant-garde poetry.

  • 献民 张

    Zhang Xianmin is a professor in the Department of Literature at Beijing Film Academy and an adjunct professor at the School of Film, China Academy of Art. He is a film scholar, curator, producer, and advocate for independent moving-image practice, with extensive work in screenwriting, film theory, documentary, short-film education, curation, and production.

  • 文东 敬

    Jing Wendong is a poet, writer, literary critic, and professor in the School of Chinese Language and Literature at Minzu University of China. His research and writing engage modern and contemporary Chinese literature, contemporary poetry, poetics, and questions concerning the modern Chinese language.

参考

Films

Anderson, Roy, dir. A Pigeon Sat on a Branch Reflecting on Existence. Sweden, 2014.

Andrei Tarkovsky, dir. Mirror. Soviet Union, 1975.

Andrei Tarkovsky, dir. The Sacrifice. Sweden/France/United Kingdom, 1986.

Andrei Tarkovsky, dir. Nostalghia. Italy/Soviet Union, 1983.

Andrei Tarkovsky, dir. Solaris. Soviet Union, 1972.

Antonioni, Michelangelo, dir. Beyond the Clouds. Italy/France/Germany, 1995.

Antonioni, Michelangelo, dir. L’Eclisse. Italy/France, 1962.

Antonioni, Michelangelo, dir. L’Avventura. Italy/France, 1960.

Béla Tarr, dir. Sátántangó. Hungary/Germany/Switzerland, 1994.

Béla Tarr, dir. The Turin Horse. Hungary/France/Switzerland/United States, 2011.

Bergman, Ingmar, dir. Wild Strawberries. Sweden, 1957.

Bi Gan, dir. Kaili Blues. China, 2015.

Bi Gan, dir. Long Day’s Journey into Night. China/France, 2018.

Chaplin, Charles, dir. City Lights. United States, 1931.

Cocteau, Jean, dir. The Blood of a Poet. France, 1930.

Duras, Marguerite, dir. India Song. France, 1975.

Eisenstein, Sergei, dir. Battleship Potemkin. Soviet Union, 1925.

Erice, Víctor, dir. The Spirit of the Beehive. Spain, 1973.

Fellini, Federico, dir. Amarcord. Italy/France, 1973.

Fellini, Federico, dir. Roma. Italy/France, 1972.

Fei Mu, dir. Spring in a Small Town. China, 1948.

Fei Mu, dir. Little Women. China, 1949.

Fukasaku Kinji, dir. Battle Royale. Japan, 2000.

Geng Jun, dir. A Journey of Poetry and Illness. China, 2011.

Godard, Jean-Luc, dir. La Chinoise. France, 1967.

Jodorowsky, Alejandro, dir. Endless Poetry. Chile/France/United Kingdom, 2016.

Ju Anqi, dir. Poet on a Business Trip. China, 2015.

Kubrick, Stanley, dir. 2001: A Space Odyssey. United States/United Kingdom, 1968.

Li Hongqi, dir. So Much Rice. China, 2005.

Li Hongqi, dir. Routine Holiday. China, 2008.

Man Ray, dir. The Starfish. France, 1928.

Mekas, Jonas, dir. Walden: Diaries, Notes and Sketches. United States, 1969.

Parajanov, Sergei, dir. The Color of Pomegranates. Soviet Union, 1969.

Parajanov, Sergei, dir. The Legend of Suram Fortress. Soviet Union, 1985.

Parajanov, Sergei, dir. Ashik Kerib. Soviet Union, 1988.

Pasolini, Pier Paolo, dir. The Gospel According to St. Matthew. Italy/France, 1964.

Pema Tseden, dir. Balloon. China, 2019.

Tian Zhuangzhuang, dir. On the Hunting Ground. China, 1985.

Wenders, Wim, and Michelangelo Antonioni, dir. Beyond the Clouds. Italy/France/Germany, 1995.

Wu Wenguang, dir. Bumming in Beijing: The Last Dreamers. China, 1990.

Yang Chao, dir. Crosscurrent. China, 2016.

Zhang Yinan, dir. The Men Talking Nonsense. China, 2014.

Zhu Wen, dir. Rainclouds over Wushan. China, 1996.

Additional Films Mentioned

Bresson, Robert, dir. Pickpocket. France, 1959.

Coppola, Francis Ford, dir. Apocalypse Now. United States, 1979.

Kusturica, Emir, dir. Underground. France/Germany/Hungary, 1995.

Malle, Louis, dir. Au revoir les enfants. France/West Germany, 1987.

Miyazaki, Hayao, dir. Spirited Away. Japan, 2001.

Mizoguchi Kenji, dir. Ugetsu. Japan, 1953.

Ozu Yasujirō, dir. Tokyo Story. Japan, 1953.

Spielberg, Steven, dir. Schindler’s List. United States, 1993.

Zhang Yimou, dir. The Flowers of War. China, 2011.

References Mentioned in Theoretical Discussion

Agamben, Giorgio. The Time That Remains: A Commentary on the Letter to the Romans. Translated by Patricia Dailey. Stanford: Stanford University Press, 2005.

Aristotle. Poetics. Translated by Malcolm Heath. London: Penguin Classics, 1996.

Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations, edited by Hannah Arendt, translated by Harry Zohn, 217–251. New York: Schocken Books, 1968.

Deleuze, Gilles. Cinema 1: The Movement-Image. Translated by Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press, 1986.

Deleuze, Gilles. Cinema 2: The Time-Image. Translated by Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press, 1989.

Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, 1987.

Eikhenbaum, Boris, et al. Poetics of Cinema. Edited by Richard Taylor. Oxford: RPT Publications, 1982.

Eisenstein, Sergei. Film Form: Essays in Film Theory. Edited and translated by Jay Leyda. New York: Harcourt, Brace, 1949.

Pasolini, Pier Paolo. Heretical Empiricism. Translated by Ben Lawton and Louise K. Barnett. Bloomington: Indiana University Press, 1988.

Vico, Giambattista. The New Science. Translated by David Marsh. London: Penguin Classics, 1999.

Cinematic Crossroads

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2026-10-01

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卷 1 期 1 (2026): Where cultures cross swords on screen

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