“虚幻之火”:数字蒙太奇及其否定性潜能  

"Flameless Fire":Digital Montage and Its Negative Potentialities

作　　者：姜宇辉[1] Jiang Yuhui

机构地区：[1]华东师范大学政治与国际关系学院

出　　处：《电影艺术》2023年第3期3-10,共8页Film Art

基　　金：国家社科基金重大项目“后现代主义哲学发展路径与新进展研究”(18ZDA017)阶段性成果。

摘　　要：剪辑和蒙太奇在进入数字时代之后正在经历着激烈的变革,传统蒙太奇的连续而间断的节奏,也正全面转变为光滑无缝的数字合成。那么,这到底意味着电影之死,还是再度新生?对这个根本问题的回答,有必要从屏幕、世界和主体这三个要点出发进行深入反思。总体屏幕化解了传统蒙太奇的危机,进而实现了世界的电影化,但又付出了丧失主体性的代价。由此,重新引入“眨眼之间”这个感知、认知和世界的三重断裂或许是未来电影重建主体的一条可行途径。As one of the most important inventions of film,editing and montage are undergoing drastic changes after entering the digital age,facing unprecedented challenges.The continuous and intermittent rhythm of traditional montage is also being fully transformed into smooth and seamless digital synthesis.So,does this mean the death of cinema,or a new lease on life?To answer this fundamental question,it is necessary to conduct in-depth reflection from the three points of the screen,the world and the subject.The global screen resolves the crisis of traditional montage,and then realizes the filmization of the world,but at the cost of losing subjectivity.And the worldbuilding approach of films since Manovich cannot fundamentally resolve this crisis.Therefore,reintroducing the triple rupture of perception,cognition and the world in the"blink of an eye"may be a feasible way for future movies to reconstructthesubject.

关 键 词：剪辑 蒙太奇 连续 间断 数字合成 世界构造 眨眼 

分 类 号：J932[艺术—电影电视艺术]