Book: 《馬克思主義電影美學:黑格爾,馬克思,恩格斯,列寧,托洛茨基,愛森斯坦》

Updated: Oct 20


Title: Marxist Film Aesthetics : Hegel, Marx, Engels, Lenin, Trotsky, Eisenstein

Copyright © 2022 by Nakanishi, Ryota

Published: 9/17/2022

ISBN: 9789887606611

Length: 660 Pages

Cover Design and illustration: Envato Pty Ltd.

All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any system, without prior permission in writing from the author.

First published in Hong Kong, China


Scientific Socialism in 2022


Marxist Film Aesthetics : Hegel, Marx, Engels, Lenin, Trotsky, Eisenstein, the second book written by the author alone, was published in Hong Kong, China.


Since 2003, the author's conscious artistic and social practice has in general fully confirmed the conclusion that Marxist aesthetics is revolutionary, collectivist realism that serves the interests of the working class. Art is the sensual manifestation of an idea. Cinematic art is the audio-visual manifestation of an idea. Its methodology is the material embodiment of the inherent logic/context/essence of the inherent movement without capitalist distortion. This is what is meant by a true methodology being "no methodology".


For example, W. Helmets is portrayed as a hero in the mainstream media, but its objective inherent logic is that of a terrorist organization fighting the S. administration with false flagging. Then, according to Marxist aesthetics, its cinematic representation should be a cross-cutting between the shots of the heroic illusion in the mainstream media and the shots of the terrorist organization that uses laundry detergent to stage chemical attacks and sell human organs taken from civilians (note: even the re-composition of a single long shot and the juxtaposition of the two are equivalent cinematic representations). Rather than an empty abstract formal style or a predetermined content framework per se, this particular cross-cutting (method) itself becomes the concrete artistic expression (aufheben) of that inherent logic. At the same time, this serves the public interest of the general public of the world.


In other words, in the end, this is what Engels called the expression of the typical character and their typical details in a typical situation. The term "typical" here does not mean blindly applying a template, or being a cliché, but rather being faithful to the inherent logic of the inherent object. We should first grasp it from the social reality, and then embody it. For example, if you are making a Cambodian police film, you cannot copy the same set of police films from other countries, such as Hollywood's "Die Hard" or Japan's "Seibu Keisatsu (Western Police)" or Hong Kong's "Police Story" series, because different parts of Cambodia are controlled by different military forces, and there is no unified police or military force like them. This is the inherent logic of the inherent object, which should be the inherent general principle of the entire show. Intrinsic logic is an action, behavior, character, tendency, situation, purpose, or emotional desire.


In short, "the specific study of the specific situation; the inherent logic of the inherent object". This sums up the entire Marxist aesthetics (of cinema) and its core values. In fact, this dialectical view of aesthetics at the same time firmly opposes and rejects any politicized interpretation of methodology and class itself. Thus, the framework of "working class art" is contrary to Marxism.


The true revolutionary nature of art is the total emancipation of art from class society. This is what most so-called leftists or anti-communist radicals still misunderstand. From a cultural and artistic point of view, this book helps to understand the basic ideas of Marxism embedded in socialism with Chinese characteristics.



科學社會主義在2022年中國香港


作者單獨撰寫的第二本出版書《馬克思主義電影美學:黑格爾,馬克思,恩格斯,列寧,托洛茨基,愛森斯坦》(Marxist Film Aesthetics : Hegel, Marx, Engels, Lenin, Trotsky, Eisenstein) 正式在香港出版。


自從2003 年以來,作者自覺的藝術和社會實踐總體充分證實了以下結論:即馬克思主義的美學乃服務勞動者階級利益的,革命的,集體主義的現實主義。藝術乃理念的感性顯現。電影藝術乃理念的視聽覺顯現。其方法論則是不受資本運動扭曲的,自覺的,固有邏輯/脈絡/本質的物質體現。這就是所稱真正的方法論是「沒有方法論」 的意思。


譬如,某頭盔在主流媒體上都被描述成英雄形象,然而其客觀的固有邏輯則是個進行偽旗作戰的恐怖主義組織。那,依照馬克思主義美學,其電影表現應該就是以主流媒體上的英雄假象的鏡頭和用洗衣粉上演化武攻擊,並出賣平民人體器官的恐怖主義組織活動的鏡頭之間的交叉剪接(注意:即使用單一長鏡頭的再構圖體現和並列此兩者也是相等的電影表現)。不是空洞的抽象形式風格或預設的內容框架本身,而是這個特定的交叉剪輯(方法)本身在此則成為體現該固有邏輯的具体藝術表現(揚棄)。同時,這服務廣大群眾的公眾利益。


换言之,最終這也就合乎恩格斯所謂典型情況下的典型人物及其典型細節之表現。這所謂「典型」在此並非意味著盲目套上樣板,或流于俗套,而是指忠於固有對象的固有邏輯。先從社會現實抓它,再把它體現出来。譬如,若拍柬埔寨警匪片,則不能把其他任何國家的警匪片的一套照搬,如好萊塢的《終極警探》或日本的《西部警察》或香港的《警察故事》系列,是因為柬埔寨各地是由不同的軍事勢力管制的, 沒有統一的警察或軍隊。這就是固有對象的固有邏輯, 也就是該戲固有的演出總體原則。所謂固有邏輯乃一種動作行為,性格,傾向,情形,目的或情感情慾。


簡言之,「具體情況的具體研究;固有對象的固有邏輯」。這就概括了整個馬克思主義的電影美學及其核心價值。 其實,此辯證法美學觀點同時堅決反對和否定了方法論的任何政治化詮釋以及階級化本身。因此,「勞動者階級藝術」的框架違背馬克思主義的。


從階級社會全面解放藝術,此乃其真革命性所在。這也就是絕大部分所謂左派或反共偏激分子至今仍然誤解的地方。從文化和藝術觀點,本書有助於理解中國特色社會主義蘊含的馬克思主義基礎思路。


Sergei Mikhailovich Eisenstein's Films:


Glumov's Diary (1923)


Strike! (1924)


Battleship Potemkin (1925)


October (1928)


Old and New / General Line (1929)


Eisenstein Frauennot Frauenglück (1929)

Romance Sentimentale (1930)


Que Viva Mexico (1931/1979)


Bezhin Meadow (1937)


Alexander Nevsky (1938)


Fergana Canal Construction (1939)


Ivan the Terrible, Part One (1944)


lvan the Terrible, Part Two (1958)


IVAN THE TERRIBLE PART 3 (1988)


Sergei Eisenstein - Autobiography (1996)


Сергей Эйзенштейн. Мексиканская фантазия (1998)

Mexican Fantasy (exclusive footage from the project)


 

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