幻影:幽灵媒介、辩证影像与一种无意识的视觉机制  

Phantasmagoria:Ghostly Media,Dialectical Images,and an Unconscious Optical Mechanism

作　　者：潘靖之 PAN Jingzhi(School of Philosophy,Fudan University,Shanghai 200437,China)

机构地区：[1]复旦大学哲学学院,上海200437

出　　处：《上海大学学报（社会科学版）》2024年第5期37-51,共15页Journal of Shanghai University(Social Sciences Edition)

基　　金：上海建桥学院博士启动基金立项课题(KYJF23BBYQ202316)。

摘　　要：围绕幽灵媒介、辩证影像、幻影机制三个关键方面可对“旧媒介”幻影从媒介考古、影像认识论与视觉机制三个向度进行“新话语”的探讨。作为一种无特定媒介形式的“图像与身体”的集合配置,幻影有其深厚的媒介考古学根源及众多的当代表现形式。在新媒体的演化图景中,幻影所独有的“幻影式的”视觉机制并未被充分予以关注,而正是这种无意识的视觉机制使得空间形式与具身化问题陌生化,撼动了既有的媒介分类与艺术表征形态,并从精神隐喻、感官的刺激与操纵、影像认识论以及现实主义和想象的融合等诸多方面引入了辩证性的启发,从而丰富了影像类型学及影像配置的话语体系。By focusing on three key aspects—ghostly media,dialectical images,and the phantasmagoric mechanism—this discussion proposes a“new discourse”on the phantasmagoria of“old media”from the perspectives of media archaeology,image epistemology,and optical mechanism.As a dispositif of“images and bodies”without a specific media form,phantasmagoria has deep roots in media archaeology and numerous contemporary manifestations.In the evolving landscape of new media,the phantasmagoric optical mechanism unique to phantasmagoria has not been given sufficient attention.It is precisely this unconscious optical mechanism that defamiliarizes spatial forms and embodiment issues,thereby disrupting existing media classifications and forms of artistic representation.Moreover,it introduces dialectical inspiration from various aspects,including spiritual metaphors,sensory stimulation and manipulation,image epistemology,and the integration of realism and imagination,thereby enriching the discourse system of image typology and image dispositif.

关 键 词：幻影 媒介考古 辩证影像 视觉机制 影像认识论 

分 类 号：J909[艺术—电影电视艺术]