论电影空间中的本土性与现代性之关系——以贝赫·泽特林的后南方电影为参照  

On the Relationship between Indigenous Identity and Modernity in Cinematic Space with Reference to Benh Zeitlin’s Post-southern Films

作　　者：陆心宇[1] LU Xinyu(Department of Philosophy,Peking University,Beijing 100871,China)

机构地区：[1]北京大学哲学系,北京100871

出　　处：《贵州大学学报（艺术版）》2021年第5期33-42,共10页Journal of Guizhou University Art Edition

基　　金：北京大学哲学学科传承创新项目(项目编号:7101602004)。

摘　　要：本土性是电影空间之中超越性的现实源泉:一种对在世界之中的存在的真实反思,不能是抽象的,而须是本土场域里发生的。作为创作材质的南方性构成了贝赫·泽特林的电影神话学的意义源泉。泽特林的后南方电影对南方本土性的抽象化塑造了一种针对资本主义现代性的多重的美学反思,即在浪漫化的视野中呈现被边缘化的他者的生命力。电影的超越性把现实的他者性时间化以抵抗异化的未来性。在电影空间中从本土性到超越性的转变之意涵正在于塑造作为历史抽象物的美学能指。Indigenous identity is the realistic source of transcendence in cinematic space:a real reflection on the existence in the world that cannot be abstract but must occur in the local field.As the source material of creation,the South constitutes the significance of Benh Zeitlin’s film mythology.The abstraction of the indigenous identity of the South in Zeitlin’s post-southern films has created a multiple aesthetic reflections on the modernity of capitalism.That is,it presents the vitality of the marginalized Other in a romanticized vision.The transcendence of film temporizes the Otherness of reality to resist the alienated futurity.The significance of the transformation from indigenous identity to transcendence in cinematic space is to shape an aesthetic signifier for the historical abstraction.

关 键 词：电影空间 电影哲学 本土性 现代性 他者性 

分 类 号：J902[艺术—电影电视艺术]