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诠释学传统中的电影理论电影修辞格实在需要阐释工作使它们臻于完美。对电影修辞格所建构的具体话语结构而言,阐释是不可分割的一个部分,这种结构的界定是复杂的,因为它既涉及表意过程,又涉及意义,即包含符号学机制,又受到参照层面的苛求。修辞的或诗歌的话语可能使我们对电影的看法得到完善(就象它肯定使米特里的看法得到完善那样),但这种完善与其说是一种牵强附会,不如说是一种神化。修辞格无法使电影理论不受枯燥的、关注表意结构的符号学的影响。正好相反,在每个理解电影的阶段都起作用的一种过程中,修辞格构成了最密集的级域:从通过心理迷宫的对影象的基本知觉,从一个可辨识的场景的再现,直到类型和修辞格的经过精心设计的功能作用,阐释都扮演了一个不可替代的角色。
Movie theory in the hermeneutic tradition The film rhetoric really needs to be interpreted to make them perfect. Interpretation is an integral part of the specific discourse structure constructed by the rhetoric of the film. The definition of such a structure is complicated because it involves not only the ideographic process but also the meaning, that is, it contains the semiotic mechanism and is also referred to The level of demanding. Rhetorical or poetic discourse may perfecting our perception of the movie (as it certainly did with Mitte’s ideas), but such perfection is not so far-fetched as deification. Rhetoric can not make movie theory unobtrusive and focus on the semiotics of ideographic structure. On the contrary, in every process of understanding the film, rhetorical structure forms the most dense level: from the basic perception of the image through the psychological labyrinth, from the reproduction of a recognizable scene, Until the type and the rhetorical function of the well-designed role, the interpretation has played an irreplaceable role.