巴赞和克拉考尔：电影真实的相对心向与绝对存在

Bazin and Kracauer: The Relative Inclination and Absolute Existence of Cinematic Reality

摘要: 本文探讨了巴赞与克拉考尔在电影本体论上的异同，特别是他们对“电影与现实”关系的不同理解。巴赞强调电影作为语言的现实主义表达，追求时间空间的真实及内心世界的探索；而克拉考尔则视电影为照片的延伸，致力于物质现实的复原，排斥内心生活与意识形态的介入。通过分析具体影片如《偷自行车的人》《风烛泪》等，本文展示了两位理论家在电影实践中的忠实体现，并指出尽管存在分歧，但均坚信电影对现实生活的重要作用。

Abstract: This paper delves into the similarities and differences in film ontology between André Bazin and Siegfried Kracauer, particularly in their divergent understandings of the relationship between “film and reality”. Bazin emphasizes film as a linguistic vehicle for realistic expression, pursuing authenticity in temporal and spatial dimensions as well as the exploration of the inner world. In contrast, Kracauer views film as an extension of photography, dedicated to the restoration of material reality, and rejects the intrusion of inner life and ideology. Through the analysis of specific films such as “The Bicycle Thieves” and “Umberto D.”, this paper showcases the faithful manifestation of these two theorists’ ideas in film practice, highlighting that despite their disagreements, both firmly believe in the crucial role of film in representing real life.