世界又暗又深又奇诡:暗黑生态学,媒介生态学与电影之本原  

The World is Dark, Deep and Weird: Dark Ecology, Media Ecology and the Archē of Cinema

作　　者：姜宇辉[1] Jiang Yuhui

机构地区：[1]华东师范大学哲学系

出　　处：《电影艺术》2022年第5期3-12,共10页Film Art

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”(项目号:17BZ015)的阶段性研究成果。

摘　　要：暗黑生态学着力揭示生态系统复杂而诡谲的谜样面貌,媒介生态学则恰好在暗黑生态学和电影研究之间建立起桥梁。媒介生态学的发展经历了一个由明转暗的发展过程,从平面化的网络环境逐步转向深层的物质基础和垂直的媒介化治理。电影诞生之初,电影、科学与权力之间的勾连早已在暗中实现着影像对于身体的规训乃至改造。冈宁等所提出的吸引力概念又提供了另一种“暗黑”版本的电影史,由此重新界定电影之本性——并非只是光影之间的游戏,更是明暗之间的剧场。Dark ecology focuses on revealing the complex and mysterious nature of ecosystems. Media ecology is a bridge between dark ecology and film studies. The development of media ecology has experienced a development process from bright to dark, from the plane network environment to the deep material foundation and vertical media governance. If we go back to the birth of film, the connection between film, science and power has already realized the discipline and even transformation of the body by image in secret. The concept of attraction proposed by Tom Gunning and others offers a very different “dark” version of film history, redefining the nature of cinema not as a game of light and shadow, but as a theater of bright and dark.

关 键 词：暗黑生态学 媒介生态学 垂直媒介化 吸引力 早期电影 暗黑 

分 类 号：J905[艺术—电影电视艺术]