影像的“非思之思”:戈达尔的关系思维  

The Image's“Non-thinking Thinking”:Godard's Relational Thinking

作　　者：李双 Li Shuang

机构地区：[1]中山大学哲学系 [2]中山大学

出　　处：《电影艺术》2024年第5期109-115,共7页Film Art

基　　金：广东省哲学社会科学规划青年项目“基于事件理论的电影本体研究”(批准号:GD24YYS18)阶段性成果。

摘　　要：戈达尔的电影拆解视听同步的感觉系统、违反现实感知的拍摄手法、拒绝连续性叙事的情境塑造,事实上是利用影像釜底抽薪地撬动现实的语言、意义与思维的权威。与其说戈达尔是凭借艺术理念创作具体的电影经验,毋宁说他在利用电影媒介施行一种“非思之思”的思想实验。戈达尔反思连续性现实对纯粹经验的冒认,在影像中实现感觉的逃逸、命名的消弭与关系的开放,以反驳主流的、线性的、因果的知识思维,启示一种陌异的、并置的、关系的影像思维。Godard's films disintegrate the audio-visual synchronizing sensory system,violate the shooting method of realistic perception,and reject the continuous narrative of the story situation,which is essentially to lever the authority of language,meaning and thinking in reality with the maverick use of image.Rather than creating specific filmic experiences with artistic ideas,Godard exploits the medium of film to carry out a kind of“non-thinking thinking”thought experiment.Godard reflects on the continuous reality's misrepresentation of pure experience in his films,as well as realizing the escape of feeling,the elimination of names and the opening of relations,in order to refute the mainstream linear and causal thinking of knowledge,and to reveal a distinctive juxtapositional and relational thinking of the image.

关 键 词：电影哲学 影像思维 关系思维 戈达尔 

分 类 号：J90-02[艺术—电影电视艺术]