《都灵之马》的末日影像与虚无主义现象学分析  

On the Doomsday Image of the Movie A Torinói ló and the Phenomenological Analysis of Nihilism

作　　者：唐子文 Tang Ziwen(Communication University of China,Beijing 100024)

机构地区：[1]中国传媒大学戏剧影视学院,北京100024

出　　处：《新疆艺术学院学报》2022年第3期85-91,共7页Journal of Xinjiang Arts University

摘　　要：《都灵之马》作为贝拉·塔尔导演的最后一部长片作品,除了捧回柏林国际电影节最佳导演“银熊奖”,也因其高水准的艺术含量而成为世界影迷心中的“封神之作”。影片的灵感来源于尼采晚年在都灵抱马痛哭的事件,讲述“末日”来临前六日的故事。影片表达强烈的存在主义现象学思想,本文通过对影片文本的细致分析,挖掘影片对尼采思想的表达,通过引用海德格尔“无”的思想论述影片的虚无主义现象学意蕴。As the last feature film directed by Béla Tarr, the Movie A Torinói ló not only helped him win the Silver Bear Award as the best director in the Berlin International Film Festival, but also became the "work of God" in the eyes of fans around the world due to its superb artistic content. The inspiration of the film comes from the event of Nietzsche who held a horse in Turin in his later years, crying and telling the story of six days before the "doomsday". The movie expresses a strong phenomenological thought of existentialism. In this paper, an attempt is made to excavates the film’s expression of Nietzsche’s thought through the analysis of the text and discuss the nihilistic phenomenological implication of the film by referring to Heidegger’s "das Nichts" thought.

关 键 词：尼采 海德格尔 “上帝之死” “末世” 虚无主义 

分 类 号：J905[艺术—电影电视艺术]