蒙太奇与弥赛亚:迈向哲学的电影理论  

Montage and Messiah:The Film Theory Towards Philosophy

作　　者：周琪 Zhou Qi(Capital Normal University,Beijing 100048)

机构地区：[1]首都师范大学,北京100048

出　　处：《新疆艺术学院学报》2024年第4期64-71,共8页Journal of Xinjiang Arts University

摘　　要：阿甘本认为电影具有一种弥赛亚式的救赎力量,他通过对时间与记忆的强调,重新对电影艺术进行了界定。在阿甘本看来,电影艺术表现出了一种契机式的时间,是对连贯的、同质的线性时间的一种挑战,并且通过蒙太奇的重复与停顿展现了独特的救赎性力量。本文以阿甘本的电影理论为基础,以具体的影视文本为例,分析电影对时间与记忆的运用和操作,关注阿甘本电影理论的哲学内涵。在保留阿甘本电影理论审美向度的同时,研究其理论的发展。Agamben believes that movies have a messianic redemptive power,and he redefined the art of film by emphasizing time and memory.In Agamben's view,film art presents an opportunistic time,a challenge to coherent and homogeneous linear time,and showcases a unique redemptive power through the repetition and pauses of montage.On the basis of Agamben's film theory,this paper analyzes the operation of movies on time and memory,concerning itself with the philosophical connotations of Agamben's film theory,with the specific examples of film and television texts as examples.While preserving the aesthetic dimension of Agamben's film theory,the paper reviews its theoretical development.

关 键 词：阿甘本 影像 蒙太奇 弥赛亚 

分 类 号：J90-02[艺术—电影电视艺术]