有生命的影像——评吉尔·德勒兹的《电影1:运动—影像》《电影2:时间—影像》  

The Living Image:On Gilles Deleuze's Film 1:Movement-Image and Film 2:Time-Image

作　　者：徐辉[1] Xu Hui

机构地区：[1]中国传媒大学艺术研究院

出　　处：《艺术设计研究》2022年第3期119-122,共4页Art & Design Research

摘　　要：法国现当代原创性哲学家吉尔·德勒兹的电影学思想,是目前电影学理论前沿的基本标志。其中,“有生命的影像”是此思想的基本点。日常生命和纯粹生命作为生命本身的两个层面及其相应的影像,构成了此思想展开的一个维度;而同时具备以上两个生命层面的多种生命机能及其影像,则构成了另一个展开维度。二者是其整个电影学思想的核心内容。最后,关涉着创造的蒙太奇(装配)思想,则为人们提供了从电影创造到艺术创造以及思想创造的丰富启发。Gilles Deleuze is a French modern and contemporary original philosopher,whose cinematic thought is the basic symbol of the current frontier of cinematic theory.Among them,"image with life"is the basic point of this thought.Everyday life and pure life,as the two levels of life itself and its corresponding images,constitute one dimension of the development of this thought.While a variety of life functions and images with the above two life levels at the same time constitute another dimension.The two are the core content of his whole filmology thought.At the same time,there is a unique image semiotics that runs through it,which further enriches his thoughts.Finally,the idea of montage(assembly)concerning creation provides people with rich inspirations from film creation to art creation and thought creation.

关 键 词：有生命的影像 日常生命 纯粹生命 感知—运动模式 纯声光模式 

分 类 号：J05[艺术—艺术理论]