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法国后结构主义哲学家吉尔·德勒兹在《电影1:运动-影像》《电影2:时间-影像》两本著作中从哲学高度对当时的西方电影史进行了梳理,探讨了与电影相关的、以及蕴涵在电影之中的哲学、美学问题,其中不乏对于电影叙事思想的深刻见解。毫不夸张地说,这些思想对电影叙事创作及电影叙事学极具启发性。然而,在近些年我国学者对德勒兹艺术及美学理论的探讨中,这部分内容却被遗憾地忽略了。本文试图从电影叙事的维度对德勒兹的思想进行开掘,并
Jr. Deleuze, the post-structuralist philosopher in France, reviewed the Western film history from the philosophical level in two books, “Movie 1: Motion - Image” and “Movie 2: Time - Image” , As well as philosophical and aesthetical issues implicated in the film, many of whom have profound insights into the narrative thinking of cinema. It is no exaggeration to say that these ideas are extremely enlightening for film narrative and film narratology. However, in the discussion of Deleuze’s art and aesthetics theory by our scholars in recent years, this part has been regrettably ignored. This article attempts to dig out Deleuze’s thinking from the perspective of film narrative