德勒兹影像哲学与穿越电影的时间美学——以穿越电影《你好,李焕英》为例  

Time-Image Aesthetics Through Film--Hi,Momunder Deleuze's FilmPhilosophy

作　　者：曹忠 CAO Zhong(School of Literature,Southwest University,Chongqing 400715;Institute of Semiotics and Media,Sichuan University,Chengdu 610064,China)

机构地区：[1]西南大学文学院,重庆400715 [2]四川大学符号学―传媒学研究所,四川成都610064

出　　处：《遵义师范学院学报》2023年第3期75-78,共4页Journal of Zunyi Normal University

摘　　要：在德勒兹的电影哲学中,时间影像是对运动影像的超越,是用纯视听情境取代衰落的日常感知运动情境的理论诉求。作为纯视听情境的时间影像,碎片化的时间向不可区分点过渡和换移,造成了影像与感知的空荡脱节以及真实与想象的叠加,以此彰显影像的非常识性和含混性。将电影《你好,李焕英》置于德勒兹的时间影像哲学谱系中,不难发现这部以时间影像为核心的穿越电影,充分展示了德勒兹的时间影像美学。在关涉穿越的时间影像逻辑中,错位的时间器物塑造了非常识性的含混影像空间,晶体时间建构起虚实叠加的晶体影像,而绵延时间中的切块影像,在本质上是影像文本的划分,并通过不同的文本区隔,使电影情节呈现出虚实难辨的漂浮样态。In Deleuze's filmphilosophy,time image is the transcendence of motion image and the theoretical appeal of replacing the de-clining daily perceived motion situation with pure audio-visual situation.As a time-image of pure audio-visual situation,the fragmented time transits and shifts to indistinguishable points,resulting in the empty disconnection between image and perception,and the super-position of reality and imagination,so as to highlight the non awareness and ambiguity of image.By placing the filmHi,Momin Dele-uze's philosophical pedigree of time-image,it is not difficult to find this through film with time-image as the core,which fully shows Deleuze's aesthetics of time-image.In the time-image logic related to crossing,the misplaced time objects shape a very cognitive am-biguous image space.The crystal time constructs the crystal image of virtual and real superposition,while the segmented image in the continuous time is essentially the division of image text,and makes the filmplot present a floating state of virtual and real indistinguish-able through different text divisions.

关 键 词：德勒兹 《你好 李焕英》 时间器物 时间晶体 时间绵延 切块影像 

分 类 号：I01[文学—文学理论]