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德勒兹提出了饱受争议的“感觉动力导向瓦解”的理论,划分了传统意义上的“运动——影像”电影和现代意义上的“时间——影像”电影。德勒兹从电影中的“间隙”与“界域外”出发,联系知觉、行动和情感,通过讲解具体的电影案例《谁带我回家》,描述了“从内部开始”的“感觉动力导向”模式的瓦解。我们应以开放的心态去迎接视觉影像的“真实”阅读。德勒兹对电影的认识其实并没有以“感觉动力导向瓦解”这一理论为前提,而是建立在电影的虚拟和真实不可分离的基础之上。德勒兹的理论并不是感官运动瓦解的历史性宣言,事实上,感官运动模式与它的瓦解是并驾齐驱的。这一瓦解活动早于德勒兹和朗西埃的言说,但又悄然无息,似未发生过。
Deleuze put forward the controversial theory of “sensory power-driven disintegration”, dividing the traditional “sports-video” movie and modern “time-video” movie. Deleuze started with “Gaps” and “Out of Area” in the movie, connecting perceptions, actions and emotions. By explaining the specific movie “Who brought me home,” it describes “starting from the inside” “” Feeling power-driven “mode of disintegration. We should welcome the ”real“ reading of visual images with an open mind. Deleuze’s understanding of the film is not based on the theory of ”feeling power-driven disintegration", but on the basis of the virtual and the real inseparability of the film. Deleuze’s theory is not a historic declaration of the disintegration of sensory movements. In fact, the mode of sensory movements is in keeping with its disintegration. This disintegration was earlier than the words of Deleuze and Loncy, but quietly and without interest seemed to have occurred.