技艺与诗:海德格尔和电影理论  

Techne and Poiesis:On Heidegger and Film Theory

作　　者：罗伯特·辛纳布林克 王嘉玮 Robert Sinnerbrink

机构地区：[1]澳大利亚麦考瑞大学哲学系 [2]复旦大学中文系

出　　处：《电影艺术》2024年第1期35-41,共7页Film Art

基　　金：教育部规划基金项目“数字人文赋能中国电影理论创新研究”(23YJA760105)阶段性成果。

摘　　要：虽然海德格尔基于对现代形而上学的反思和对现代技术的追问,对电影进行了批判,但其思想对当代电影理论和电影哲学具有深刻启发。电影作为一种技术艺术,参与到现代技术的“模棱两可性”之中。因此,有必要打破海德格尔将电影排除在诗性艺术之外的局限,缓和他对电影表象性的批判,承认电影的世界表象层面和诗性层面之间的相互作用,将电影作为诗,即一种诗意解蔽的媒介,并由此指明栖居于技术世界的可能方式。Although Heidegger criticized film based on his reflection on modern metaphysics and questioning of technology,his thoughts remain significant and inspiring for contemporary film theories and film philosophy.Film,as a technical art,participates in the“ambiguity”of modern technology.It is therefore important to break with Heidegger's exclusion of cinema from the poetic works of art,to temper his critique of the representational capacity of cinema,and to acknowledge the interplay between the representation and poetic dimensions of cinematic world projection,thereby allowing us to understand cinema as Poiesis,as a medium of poetic revealing that might point to new ways of inhabiting the technological world.

关 键 词：海德格尔式电影 技术集置 技术艺术 诗意解蔽 

分 类 号：J93[艺术—电影电视艺术]