作为电影修辞的“凝缩”与“移置”——兼论麦茨电影符号学的精神分析语义学基础  

The Condensation and Displacement in Film Rhetoric——Also Comment on the Foundation of Psychoanalysis Semantics in Metz' s Film Semiotics

作　　者：程波[1] 辛铁钢[1] 

机构地区：[1]上海大学影视艺术技术学院,上海200072

出　　处：《上海大学学报（社会科学版）》2011年第6期49-57,共9页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社科基金艺术学项目(10CC079);上海市重点学科电影学项目(S30103)

摘　　要："凝缩"与"移置"这一对概念最早出现于弗洛伊德的《释梦》中,后来经由拉康,进入了麦茨的电影符号学体系中,从无意识的工作机制、无意识的语言运作机制,转变为一种和精神分析语义学中的"隐喻"和"换喻"联系对照的电影修辞。通过讨论"凝缩/移置"这对经过弗洛伊德提出、拉康引申和改造的概念,如何在麦茨的理论体系中成为电影修辞格这一问题,用一种类似"概念史"的方法,从一个较新的具体角度对麦茨的研究思路和理论价值取得更多的认识。The concepts of condensation and displacement date back to Freud＇ s The Interpretation of Dreams,and,afterwards,through Lacan,enter into the system of Metz＇ s film semiotics,thus changing from an unconscious work mechanism,or an unconscious operating mechanism of language,to a kind of film rhetoric that relates to a contrast with metaphor and metonymy in psychoanalysis semiotics.By discussing the process of how these two concepts were put forward by Freud,and extended or transferred by Lacan,and melt by Metz into his system of theory,which is similar to the ＂concept history＂,this essay tries best to use a relatively new angle to give some more thinking of Metz＇ s research methods and theoretical values.

关 键 词：电影理论 麦茨 凝缩 移置 隐喻 换喻 电影修辞 

分 类 号：J902[艺术—电影电视艺术]