【摘要】 聚焦于“艺术电影”概念的发生学视角，查考这一电影学乃至艺术学基本概念在中西日跨文化互动过程中的源起与生成，是一个始于微观、终于宏观的核心话题。西方“艺术电影”最初由法国作为商业盈利的“策略”而诞生，凭附文学改编以提升电影合法性地位，后经先锋派理论与实践助推，内涵逐步扩大，奠定了电影作为独立艺术形式的基础。日本“文艺映画”以“新剧”为中介吸收欧洲经验，结合本土文学经典及有声技术，实现民族性与现代性的融合。中国“文艺片”受欧美和日本的双重影响，依托于与域外类似的文学改编实践，同时具有立足于“文以载道”和“影戏”传统的本土特点，最终在商业、启蒙与政治因素的多元交织中定型为一个“复合单数”概念。针对中西日“艺术电影”概念的源流梳理与互鉴式考察，不仅有利于澄清电影与文学等其他艺术形式、艺术电影与商业电影、作者风格与市场策略等重要却暗昧的二元关系问题，为电影理论与创作实践提供参鉴，而且还可稳固电影学的基石性概念，切实推进中国艺术学自主知识体系的建设与发展。更多还原

【Abstract】 From a phylogenetic perspective, examining the origin and evolution of the concept of “art film” within film studies and art studies through the cross-cultural interactions among China, the West, and Japan constitutes a core research topic that progresses from a micro to a macro level. The Western notion of “art film” originated in France as a commercial strategy aimed at enhancing profitability, often involving literary adaptations to elevate the legitimacy and artistic status of cinema. Subsequently, bolstered by avant-garde theories and practices, its meaning expanded, laying the groundwork for film to be recognized as an independent art form. In Japan, “literary films” absorbed European cinematic experiences through “new dramas”, integrating local literary traditions with audiovisual technologies to harmonize national identity with modernity. Chinese “art films”, influenced by both European and Japanese models, adopted similar literary adaptation practices while maintaining distinctive local characteristics rooted in the traditional values of “literature carrying the way” and “film as a medium of expression”. Ultimately, shaped by the complex interplay of commercial, enlightening, and political factors, the Chinese concept of “art film” evolved into a “compound singular”construct. Tracing the historical development and mutual influences of the concept across China, the West, and Japan not only clarifies significant yet often implicit binary relationships—such as those between film and literature, art film and commercial film,and authorial style versus market strategy—but also provides valuable insights for film theory and creative practice. Furthermore, it contributes to the consolidation of foundational concepts in film studies and underscores the importance of advancing the construction of an independent knowledge system for Chinese art studies.更多还原