华北水利水电大学学报（社会科学版）

诞生于20世纪80年代的数字电影,给巴赞纪实美学理论带来了新的挑战:以往在模拟时代被奉为经典的影像本体论在数字时代是否还能经受住科技带来的考验。无论国内对巴赞纪实主义美学探讨的出发点和角度如何,有两点是始终都需要认清的,即巴赞纪实美学的核心及巴赞电影的真实观念。只有基于这两点的共同认知及理性思辨,对于当前出现的争端的认识才能更加深入。

Digital cinema,born in 1980 s,has brought new challenges to the Barzun documentary aesthetic theory: in the past,the analog era is regarded as the classical theory of image ontology can withstand the test of science and technology in the digital era brings new. No matter what the starting point and angle of the discussion of Barzun's documentary aesthetics in China,there are two points that need to be recognized all the time,that is,the core of Barzun's documentary aesthetics and the real concept of Barzun's film. Only on the basis of the common cognition and rational speculation of these two points,can the understanding of the current disputes be more thorough.