罗伯-榕里埃是法国“新小说派”的创始人之一,近年来则把“新小说”搬上了银幕,编导了一些頺废、色情的所谓“心理写实主义”的影片。这类影片,在内容和表现方式上都极为荒唐。把过去、现在和未来的事件、回忆、真象、幻想和错觉,胡乱地交织在一起,连人物也是用“M”、“X”等来表示。这种电影和“新小说”一样,其目的在于歪曲现实,逃避和抹煞社会本质问题。这是资产阶级心理分析学说和存在主义哲学等反动思潮在西方文化艺术中的反映,也是西方文化越来越走向腐朽没落的一个迹象。本文作者把罗伯-格里埃的作品吹捧为“寻找高于生活的新的现实”,实在令人作嘔,由此可见作者本人的文艺观也是极其反动的。本期发表的另一篇文章《电影是看见的方式》,公然否认艺术作品的社会意义,反对文艺批评,这种“为电影而电影”的观点,实质上是企图抹煞电影艺术的社会职能及其阶级性,为西方各种形形色色的腐朽、反动的电影进行辩护。 Robertson is one of the founders of France’s “New Fiction School.” In recent years, “New Fiction” has been put on the screen and led some so-called “psychic realism” films that are obscene and pornographic. Such films, in terms of content and performance are very absurd. The events, memories, real images, illusions and illusions of the past, present and future are randomly intertwined. Even the characters are also represented by “M”, “X” and so on. Like the “new novels,” these films are intended to distort reality and evade and obliterate the issue of social essence. This is a reflection of reactionary currents of reaction such as bourgeois psychoanalysis and existentialism in Western culture and arts as well as a sign that Western culture is declining more and more decadently. The author of this article touted Roberto Gerière’s work as “looking for a new reality above life,” which is really disgusting. This shows that the author’s own view of literature and art is also extremely reactionary. Another article published in this issue, “Cinema is a Way of Seeing,” blatantly denies the social significance of works of art and opposes criticism of literature and art. This “film as a movie” viewpoint is essentially an attempt to obliterate the social function of cinema art and, Its class nature defends all kinds of decaying and reactionary films in the West.