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| 画面交汇生命力的表现—早期电影蒙太奇与现代建筑空间设计的互通发展 |
| The Dynamic Fusion of the Confluence of Pictures：The Interactive Development of Early Film Montage and Modern Architectural Space Design |
| 投稿时间：2025-01-09 修订日期：2025-01-09 |
| DOI：10.12285/jzs.20250109008 |
| 中文关键词: 爱森斯坦、勒·柯布西耶、画面组合、流动空间、蒙太奇、现代性 |
| 英文关键词: Eisenstein,Le Corbusier,Picture combination,Flowing space,Montage,Modernity |
| 基金项目: |
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| 中文摘要: |
| 20 世纪初，苏联电影导演爱森斯坦等电影艺术家们首先将建筑领域的“蒙太奇”概念运用到电影中，让
电影成为更加生动而富有时空速度内涵的现代艺术表现方式。同时，现代建筑也在时空结构、空间的运动性以
及空间的抽象特质等方面进行积极探索，电影的空间感知与表现方法在一定程度上与现代建筑大师的现代设计
不谋而合。本文以 20 世纪 20 年代苏联建筑师布洛夫、电影导演爱森斯坦、建筑大师勒·柯布西耶的交往为出
发点，探讨了电影蒙太奇理论中的画面流动思想与勒·柯布西耶的建筑空间创作方法在思想上的一致性。蒙太
奇理论成为电影与建筑理论融合共生的媒介，电影导演和艺术理论家对空间的诠释启发着现代建筑师的思考。 |
| 英文摘要: |
| At the beginning of the 20th century，Soviet fi lm director Eisenstein and other fi lm artists fi rst applied
the concept of “montage” from architecture to fi lm，enriching the medium with a dynamic representation of time
and space，thus imbuing modern art with a new expressive dimension. At the same time，modern architecture
also actively explores spatial and temporal structures，the movement of space，and the abstract characteristics of
space. The spatial perception and expression methods of fi lm coincide with the modern design of contemporary
architects to a certain extent. Based on the interaction between the Soviet architect Bulov，the fi lm director Eisenstein，and the architect Le Corbusier in the 1920s，this paper discusses the ideological consistency between the
idea of picture fl ow in the fi lm montage theory and Le Corbusier’s method of creating architectural space. Montage theory has become the medium for the fusion and symbiosis of fi lm and architectural theory. The interpretation of space by fi lm directors and art theorists has inspired the thinking of modern architects. |
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