论文部分内容阅读
让·弗朗索瓦·利奥塔(Jean-Francios-Lyotard)将电影摄影术表述为对以运动进行的写作,是对电影片断的主动创作。当我们试图通过将时间切分为一系列的静态的,固定的时刻来理解运动,然后再通过某种方式将其连接时,我们便遗失了运动的整体。德勒兹认为随着蒙太奇的出现,片断便具有时间性而并非单纯的空间性.对于“固定片断+抽象时间”的分析也将转化为对“移动片断+时间平面”的分析。这一理念亦可通过某种方式类比于建筑,建筑师的活动与电影制作过程表现出较强的相似性。这也同样体现在“相机眼”(Camera Eye project)中。
Jean-Francios-Lyotard’s expression of cinematography as an exercise for the writing of the movement is an initiative of the filming. When we try to understand a movement by breaking it up into a series of static, fixed moments and then somehow connecting it, we lose the whole movement. Deleuze thinks that with the montage, the fragment is temporal rather than purely spatial. The analysis of “fixed fragment + abstract time ” will also translate into analysis of “moving fragment + time plane” . This idea can also be compared in some way to architecture, architect’s activity and film production process showed a strong similarity. This is also reflected in the Camera Eye project.