关于电影中的情感艺术

• 영문명: On the Emotional Art in Film
• 발행기관: 국민대학교 문화교차연구소
• 저자명: 王蕊
• 간행물 정보: 『문화교차연구』제1권 제1호, 179~221쪽, 전체 43쪽
• 주제분류: 인문학 > 철학
• 파일형태: PDF
• 발행일자: 2025.06.30

국문 초록

本论文通过电影这一媒介，对人类情感的逻辑结构及其哲学意 义展开探讨。研究动机源自我在学习与制作电影过程中的个人经 验，尤其是对电影中所呈现情感与个体生命经验之间关系的反 思。这种反思促使我追问“我为什么出生”“我该如何生活”等根本 性人生问题，也引导我将电影视为理解情感、探索本性的重要入口。 论文以“我们在看电影时究竟在看什么？”这一哲学性问题为起点，强调电影不仅是视听娱乐，更是情感传达与意义建构的复合载体。通过叙事、角色、镜头语言与声音设计等多种手段，电影使观众在观看过程中与角色产生共情，从而映射出自身对幸福、爱与自由等概念的理解。 本研究结合东方哲学中的儒家思想与西方哲学中的柏拉图、苏格拉底等理论框架，以三部具有代表性的电影文本为核心分析对象：《何以为家》《蓝色茉莉》与《赐予者》。在《何以为家》中，少年赞恩面对极端贫困环境，通过关爱他人和反抗命运展现出情感与尊严的力量。《蓝色茉莉》揭示了茉莉如何将幸福建立在对物质与身份的依赖上，最终在精神世界崩塌中失去自我。而在《赐予者》中，一个被剥夺情感与记忆的社会让人类沦为冷漠的工具，主角乔纳斯在觉醒过程中逐步理解了爱、牺牲与自由的 真正含义。 笔者认为，情感不仅是人类存在的基础，也是实现个体自由与幸福的核心要素。在现代社会对效率与物质高度追求的背景下，情感被边缘化，个体逐渐失去对自我本质的认知。因此，本文主张应重视情感的哲学地位，重新审视人与情感、人与自我之间的关系，倾听内心，忠于本性，方能真正实现“像我一样生活”的人生状态。

영문 초록

This paper explores the logical structure and philosophical significance of human emotion through the medium of film. The motivation for this research arises from my personal experiences in studying and creating films, particularly reflections on the relationship between cinematic emotions and individual life experiences. These reflections have led me to question fundamental existential issues such as “Why was I born?” and “How should I live?”, positioning film as a vital entry point for understanding emotion and exploring human nature. Beginning with the philosophical inquiry “What are we really watching when we watch a film?”, this study emphasizes that cinema is not merely a form of audiovisual entertainment, but a complex vehicle for emotional expression and meaning construction. Through narrative, character development, cinematography, and sound design, film enables viewers to resonate emotionally with on-screen experiences, thereby reflecting their own understanding of concepts such as happiness, love, and freedom. This research integrates Confucian thought from Eastern philosophy with Western philosophical frameworks, including those of Plato and Socrates. It centers on the analysis of three representative films: Capernaum, Blue Jasmine, and The Giver. In Capernaum, the boy Zain, facing extreme poverty, expresses his dignity and emotional depth through caring for others and resisting an unjust fate. Blue Jasmine reveals how Jasmine equates happiness with material wealth and social status, ultimately leading to the collapse of her inner self. In The Giver, a society that erases memory and emotion reduces humanity to emotionless instruments, until the protagonist Jonas awakens to the meanings of love, sacrifice, and freedom. The paper argues that emotion is not only fundamental to human existence, but also essential to achieving individual freedom and happiness. In a modern world that prioritizes efficiency and material gain, emotion has been increasingly marginalized, causing individuals to lose touch with their essential selves. Therefore, this paper advocates for a philosophical revaluation of emotion, urging a renewed examination of the relationship between people and their feelings, and between individuals and their authentic selves. Only by listening to the heart and remaining faithful to one’s nature can one truly achieve a way of living that is, in essence, “like myself.”

목차

Ⅰ. 关于 “我的存在”

Ⅱ. 关于 “完整”

Ⅲ. 关于 “爱若”

Ⅳ. 关于 “我与电影”

Ⅴ. 关于 “感情”

Ⅵ. 关于 “像我一样生活”

Ⅶ. 关于 “电影中的情感 —《何以为家》”

Ⅷ. 关于 “电影中的情感 —《蓝色茉莉》”

Ⅸ. 关于 “电影中的情感 —《赐予者》”

Ⅹ. 结论

参考⽂献

키워드

本性 欲望 艺术 电影 感情 哲学 human nature desire art film emotion philosophy