艺术电影与商业电影本质上体现为不同的“审美”体验,二者的划分依据并非反映在美学风格、视觉场面、成本投资、明星阵容上,而是体现在电影生态格局中有关“审美”定位的功能取向上。大凡有关美学风格、视觉场面等“技术参数”的讨论最终都会陷入一个界限模糊的悖论之中,而审美取向与审美功能则具有相对清晰的指代内涵——不同话语权力和文本认同基础上的审美批判。就审美批判而言,艺术电影是基于古典审美取向层面的诗意表达,而商业电影则是基于现代性审美、后现代审美取向层面的浪漫表达。古典审美尤其以希腊艺术为典型,强调生 Art films and commercial films, in essence, embody different “aesthetic” experiences. The basis for their division is not reflected in the aesthetic style, visual scenes, cost investment and star lineup, but rather in the aesthetic orientation of the film’s ecological structure Functional orientation. All discussions of “technical parameters” such as aesthetic style and visual scene will eventually fall into a paradoxical paradox, while the aesthetic orientation and aesthetic function have relatively clear connotations - based on different discourse powers and textual identities Aesthetic criticism. For aesthetic critique, art film is based on the poetic expression of classical aesthetic orientation, while commercial film is based on the romantic expression of modern aesthetic and postmodern aesthetic orientation. Classical aesthetics is especially typical of Greek art, emphasizing life