亲近不可见者:法国当代影像理论的超越维度及其理论潜力  

Approach the Invisible:Transcendental Dimension and Theoretical Potential of French Contemporary Image Theory

作　　者：王嘉军[1,2] 王新竹 Wang Jiajun;Wang Xinzhu

机构地区：[1]华东师范大学中文系 [2]中国文艺理论学会

出　　处：《电影艺术》2022年第1期19-24,共6页Film Art

基　　金：上海市教育发展基金会和上海市教育委员会“曙光计划”资助项目“列维纳斯之后的西方伦理批评研究”(批准号:20SG25);中央高校基本科研业务费项目华东师范大学引进人才启动费项目(批准号:2021ECNU-HLYT039)阶段性成果。

摘　　要：列维纳斯一方面强调他者不可显现,另一方面他的"面容"等概念又指向不可见者的"圣显"。他对法国当代影像理论产生了重要影响,以让-吕克·马里翁和让-吕克·南希为个案,可以管窥法国影像理论之超越维度的赓续,及这一思想对电影研究的理论潜力。法国当代影像理论对影像他异性和神圣性强调之关键,在于思考如何既亲近不可见者,使其既具备某种可见性,又不减损他异性。通过对《蓝》和《潜行者》的解读,我们可以发现这一理论与电影创作的共通。On the one hand,Levinas emphasized that the Other cannot be represented;on the other hand,his concepts such as“the face”point to the“epiphany”of the invisible.This view of image has had an important influence on the French contemporary image theories.Taking Jean-Luc Marion and Jean-Luc Nancy as examples,we can get a glimpse of the continuity of the transcendental dimension of French image theory and the theoretical potential for film studies.French contemporary image theories strengthen the otherness and sacredness of image.The key point is to consider how to get close to the invisible,so that it has certain visibility without reducing its alterity.Through the interpretation of Blue and Stalker,we can find the commonality of this theory and film practice.

关 键 词：列维纳斯 马里翁 南希 影像 《蓝》 《潜行者》 

分 类 号：J90[艺术—电影电视艺术]