一在过去的40年里,特别是上世纪90年代,东亚武术电影在全球传播,慢动作摄影已成为一个无处不在的叙事电影制作。如今,为各种表达目的去拉伸影像的时间性,极度高速摄像机和数码后期制作设施提供了相对容易的方法。本文讨论的是国际艺术电影制作领域里关于慢速美学的两个补充寓言,它们在很大程度上都避免使用慢动作摄影本身,而是把观众置于媒体考古学的复杂放映中。彼得·威尔(Peter Weir)的《最后大浪》(The Last Wave, For the past 40 years, especially in the 1990s, East Asian martial arts films have been spreading around the world and slow-motion photography has become a ubiquitous narrative film production. Nowadays, it is relatively easy to stretch time-lapse, extreme high-speed cameras and digital post-production facilities for a variety of presentation purposes. This article discusses two complementary allegories of slow aesthetics in the field of international art filmmaking that largely avoid the use of slow-motion photography per se but instead place viewers in the complex screening of media archeology. Peter Weir’s The Last Wave,