从末世电影到末日影像——探寻电影−哲学的一种未来可能  

From the Eschatological Film to the End-of-the-World Cinema:Exploring a Possible Connection between Film and Philosophy

作　　者：姜宇辉[1] JIANG Yu-hui

机构地区：[1]华东师范大学哲学系,上海200241

出　　处：《华东师范大学学报（哲学社会科学版）》2022年第3期94-106,186,共14页Journal of East China Normal University（Humanities and Social Sciences）

基　　金：国家社科基金一般项目“当代法国哲学的审美维度研究”(项目编号:17BZ015)。

摘　　要：末世电影是晚近以来的一个重要的电影类型,但学界对其所进行的分析尚存在比较大的局限性。一是仅关注其“景观”的方面,而忽视了它与末世论、末日论等深刻哲学问题之间的内在关联;二是仅聚焦于末世景观的某些局限的方面,比如自然灾难,而忽略了从冷战到后911时期发生鲜明转换的“世界终结”的不同形态。从这两个方面入手,可以对末世电影进行深入剖析。首先从哲学史的角度,梳理“世界”概念的演变线索及从“末世”到“末日”的转变过程。进而,结合末世电影的晚近发展,揭示出在以先制为主导策略的后911时期全球危机的背景之下,末日影像如何回归个体的生存体验,但却最终落入到末世论-启示论的真理循环之中。最后,结合德里达的文本及冯提尔的影像来尝试探索在既有的末世电影和末日影像之后的别样可能,直面“世界已去”这个起点,以忧郁之共情为纽带重建主体性之根基。The eschatological film is an important film genre in recent years.but there are still some limitations in the analysis of it.First,we only pay attention to its“spectacle”aspect,but ignore its internal relationship with eschatology,the“end-of-the-world”and other profound philosophical issues.Second,we focus only on certain limited aspects of the apocalyptic spectacle,such as natural disasters,while ignoring the different forms of the“end of the world”that marked the transition from the Cold War to the post-9/11 era.This paper intends to make an in-depth analysis of the eschatological film from these two aspects.From the perspective of philosophical history,this paper examines the evolution clue of the concept of“world”and the transformation from“apocalypse”to the“end-of-theworld”.Furthermore,together with an analysis of the recent development of the eschatological film,it reveals how the“end-of-the-world”cinema returns to the individuals’survival experience under the background of the post-9/11 potential doomsday,but eventually falls into the eschatological truth cycle.Finally,examining Derrida’s text and Lars von Trier’s images,this paper explores an alternative possibility after the existing apocalyptic film and the end-of-the-world cinema,facing the starting point that“the world has gone”,and rebuilding the foundation of subjectivity with melancholy empathy as a bond.

关 键 词：末世 末日 世界 理念 体验 绝对无 忧郁 

分 类 号：J90-02[艺术—电影电视艺术]