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电影理论在一百年的大部分时间里,并不专门探讨记忆的话题,除去理论身处时代创伤中的特殊情景,有关物质的命题总是以胜利者的姿态压抑着有关精神的话题,而现实也远比记忆重要。但是,记忆问题却是一个重要的观察视角,借助它,电影理论的叙事范式可能呈现出全新的样态,在这一样态中,依据电影理论处理记忆的不同方式而使得有关电影、主体和存在的三元关系重新构建,使得关于三者的知识在地形学意义上重新分布:20世纪中叶,巴赞理论活跃的时代,电影理论的书写仍旧以古典现象学的名义悬停在对物质现实的关切之上;精神分析语言学第一次把记忆处理为分析对象,但欲望、力比多等更加弗洛伊德化的概念则压抑了有关记忆话题的深入探讨;直到德勒兹理论,方才第一次在时间-记忆的维度上,为电影创造了一套全新的词汇,使得有关电影、主体和存在的问题在更深远的位置上得以重新浮现。
In most of a hundred years, film theory did not specifically discuss the topic of memory. Instead of the special situation in which the theory is located in the trauma of the times, the propositions of matter always depress the subject of spirit with the attitude of the winner. Reality is far more important than memory. However, the problem of memory is an important observation perspective. With it, the narrative paradigm of film theory may present a completely new paradigm in which the relevant movie, subject and existence are based on the different ways in which the theory of film processing deals with memory Reconstruction of the ternary relationship, making the knowledge about the three redistributed in the sense of topography: in the mid-20th century, when the theory of Bazin was active, the writing of movie theory still hung in the name of classical phenomenology on the basis of material reality Concerns; psychoanalytic linguistics for the first time to deal with the memory of the analysis of the object, but the desire, Libido and more more than the concept of repression suppressed the topic of memory; until Deleuze theory, just For the first time in the time-memory dimension, a whole new set of vocabulary has been created for the movie, allowing the film, subject, and existential issues to emerge more profoundly.