20世纪80年代初，在西方业已退却的巴赞电影理论，在中国影坛却引发了译介的热潮。本文借用伊文·佐哈的翻译理论，解释巴赞理论在20世纪60年代被“隐抑”却在80年代被追捧的原因，并以此探究巴赞的电影理论如何作为一种契机引发了中国电影观念现代化的转变。这种转变的标志有二：思想内容上，由原来的电影工具论转变为电影本体论；美学追求上，由传统的影戏美学转变为影像美学。在这两个层面的观念转变过程中，巴赞的纪实美学作为现代电影理论代表，被用来反思和革除中国电影的弊病和积习。%In the early 1980s, the film theory of AndréBazin, whose influences already retreated in Western countries, creates a phenomenon in the Chinese filmdom.This article, using Even-Zohar’ s polysystem theory, intends to investigate the reason why Bazin’ s theory was underestimated in Chi-na until the early 1980s and how it caused the modernization of Chinese film concepts.In this process of transformation, Bazin ’ s theory, regarded as a representative modern film theory, was used to reflect and redress the established maladies and disadvantages of Chinese film development.
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