苏联前卫电影的宇宙主义谱系:玻璃——球域、机械生机论与星际革命  

The Genealogy of Cosmism in Soviet Avant-Garde Cinema:Glass-Sphere,Mechanical Vitalism and Interstellar Revolution

作　　者：乔泓凯 Qiao Hongkai

机构地区：[1]复旦大学艺术哲学系

出　　处：《电影艺术》2024年第6期49-59,共11页Film Art

摘　　要：费多罗夫、齐奥尔科夫斯基等人的俄罗斯宇宙主义构成了定位未来派艺术与苏联前卫电影的重要思想史坐标。爱森斯坦未竟的“玻璃屋”“球体书”计划指向一种具有宇宙论意义的球域学结构。比例模型在早期苏联电影中的运用暗示了机械灵性与宇宙精神之间的和谐;制作模型的粘土构成了太阳能量的载体。“飞行器”(宇宙技术)被理解为将主体从扁平化的存在状态中加以解放的至上主义体验,进而被转译为“平流层政治”或“宇宙世界主义”的象征形式。The Russian cosmism philosophy constituted an important ideological-historical reference frame for locating futuristic art and avant-garde film practices.As a Rosicrucian,Eisenstein had a hidden connection with cosmological occultism.His unfinished project of the"Glass House""and"Book of Spheres"referred to a cosmological spherology structure.The use of scale models(planes,spaceships,etc.)in early Russian cinema suggested a harmony between mechanical vitality and cosmic spirituality.The clay of models constituted a carrier of solar energy.The"flying machine"(cosmic technology)was understood as a supremacist experience that emancipated the subject from a flattened state of being,which was translated into a symbolic form of"stratospheric politics"or"cosmopolitanism"in the 1930s.

关 键 词：前卫电影 宇宙主义 玻璃屋 模型 生机论 飞行 

分 类 号：J905[艺术—电影电视艺术]