敖玮婧

关键词：暴力美学；武侠电影；美学形态；中美电影

摘要：暴力美学是由电影中风格化的暴力场景发端形成的一种美学形态。中美电影中暴力美学的书写风格、演绎手法均不尽相同，以“吴氏暴力美學”为代表的中国电影在其诗意化暴力场面下的内涵是儒家精神及侠义情怀；以昆汀为代表的美国电影则更注重暴力场景的形式感，并用戏虐喧嚣的游戏化、娱乐化解构暴力，其内涵是自我救赎和自我价值实现。随着暴力美学的发展其美学形态也不断变迁，徐浩峰的“硬派武侠”讲究势动形不动，以更加含蓄的方式展现东方文化的伦理道德及侠义精神；而暴力美学在梅尔·吉布森的电影中也已不再是单纯的奇观化感官刺激，极端的暴力血腥还原了战争的残酷，反映出对战争和人性的思考及对生命向死而生的礼颂。

中图分类号：J901

文献标志码：A文章编号：1009-4474（2017）04-0138-07

Displays of Violence：Form and Connotation of Chinese and

American Movie Violence Aesthetics in the New Century

AO Weijing

（School of Humanities， Southwest Jiaotong University， Chengdu 610031， China）

Key words： violence aesthetics； martial arts films； form of aesthetics； Chinese and American films

Abstract： Violence aesthetics， unrolled through violent scenes in films， has its different modes of description and interpretation both in eastern and western movie history. Chinese movie violence aesthetics represented by “Wus style of violence aesthetics” hosts the spirit of Confucianism and chivalrous emotions in the form of poetic charm. While that represented in the movies by Quentin Tarantino is more biased on the violence in the extreme bloody cruel scenes and the deconstruction of violence with playful noisy games and entertainment， to display the theme of selfsalvation and the realization of ones own value. With the continuous development of violence aesthetics in movies， Xu Haofengs ironhard style of “martial arts chivalry” violence takes the form of “Qi”， showing the Oriental culture of introvert nature and chivalrous spirit. The violence aesthetics in MEL Gibsons movie， again， is no longer a pursuit of sensory stimulation. Instead， the extreme bloody violence simulates the cruelty of war， intended to incur a reflection on the nature of war and human beings， and a homage to life and death.

电影对暴力问题的思考从其诞生初期开始，直至发展成为一种颇具特色的美学形态，始终与世界舞台上的政治风云、社会生活、文化思潮的变迁紧密联系在一起。暴力美学的美学主张正是在电影与观众的关系上将电影的话语解释权交给观众，从而确立观众的审美主体地位，而大众对电影暴力美学的接受也体现出其审美的多元化、民主化的时代特点。

在当今世界的多元化格局下，政治风云多变、欧洲难民危机、中东地区局势紧张、恐怖主义阴云久久不散等都影响着电影中对于暴力问题的思考和表达。……